“Killer Stuff and Tons of Money: Seeking History and Hidden Gems in Flea-Market America,” by Maureen Stanton. Published June 2011 by Penguin Group, hardcover , 336 pages.

I recently had the pleasure of sitting down with author Maureen Stanton and discussing her new book, “Killer Stuff and Tons of Money: Seeking History and Hidden Gems in Flea-Market America” and her views on the current world of antiques, collectibles and collecting in the U.S.

Rebekah Kaufman: On behalf of WorthPoint, thank you for speaking with me today about your new book, which I have read and thoroughly enjoyed. I recommend it to anyone who is interested in antiques or vintage collectibles, or is collectors themselves.

Maureen Stanton: Many thanks, it is my pleasure. I am actually member of WorthPoint, and think it’s a great site and an excellent source of information, as it presents the real value of items in the aggregate and over time.

Rebekah Kaufman: Would you please tell us how you came upon the germ of the idea to write your book, “Killer Stuff and Tons of Money: Seeking History and Hidden Gems in Flea-Market America?”

Maureen Stanton: In 2000, I was living in Ohio and in graduate school, getting my MFA. Kurt Avery—the protagonist of the book, whom I had known at college—called me and said that there was an auction taking place close to where I lived. He asked if I would like to go along with him to the auction, and if so, could he crash at my house the night before the sale. I said yes on both accounts, and went to the auction with him. As a matter of fact, I bid for him as a proxy, as he did not want his competitors at this auction to know he was there. I was intrigued by this experience and wrote an article about it, but didn’t do anything with the piece. Fast-forward three years, and I reconnected with Kurt over another antique event, and I remembered why this culture intrigued me from the start. Then I accompanied him to Brimfield—the largest outdoor antiques show in New England—and realized that there was a whole world to explore … much more than an article’s worth! It was at this point that I had the idea for the book, and began thinking about the project within the framework of a book.

Rebekah Kaufman: So the timeline from start to finish for the book was about a decade?

Maureen Stanton: Yes, I started in 2000 and attended my last show in 2010 just before I handed the finished manuscript to my publisher. The last year and half of the project I spent intensely preparing the book—finding the story in 900 pages of material and organizing all the interviews and materials into a form that best represented the tale I was trying to tell.

Rebekah Kaufman: When you started writing the book, did you have a range of ideas to research as part of the plan, or did the story take on a life of its own?

Maureen Stanton: The process was very organic. At first, I thought I would make this a global study of the flea market world and include the flea markets of London and Paris—a huge undertaking, for sure. I then realized I needed to scale things back a bit and focus on the United States. That was part of the arc of learning I went through as part of writing the book—something you really can’t plan ahead. I was never really sure how the book would shape up but my goal was always to bring the authentic experience of what I was seeing or doing to the reader … to give them a window into a whole world of information, emotions and logistics that they would not have access to otherwise.

Rebekah Kaufman: How did you capture information for your book?

Maureen Stanton: I always carried around a book and took notes on my conversations and experiences. I tried to be as unobtrusive as possible so my notes were brief. At breaks, or at the end of the day, I would write in reminders of the conversation or quotes. When I got back to my office, I would type these things up in a form that could be used for the book. I also sometimes used a tape recorder for some interviews.

Rebekah Kaufman: How did you know when you had enough information to write the book?

Maureen Stanton: I knew it was time to get down to work when I stopped taking notes on my experiences with Kurt and at shows. I also lost my eye for what may be interesting to a layperson over time, as a result of my learning curve in the industry. It became harder to find new angles, and I started to question myself— “Am I a worker or a writer?” When I reminded myself that I was a writer—and the novelty of the antique world was far less than when I started—I knew it was time to hit the keyboard.

Rebekah Kaufman: Are you personally a collector or antiques or vintage enthusiast?

Maureen Stanton: I am not a collector of anything specific per sea, but I love most antique and vintage items. I do especially love vintage jewelry—but not really in a collector’s sort of way. I purchase things haphazardly, not in a planned or curated manner. I go to antique shows and flea markets pretty regularly, but I am very disciplined with the amount of cash I bring along. I love the history behind older things; that they have a legacy and richness to them.

Rebekah Kaufman: How has the research you have done for this book changed (or not changed) your life and the way you look at things?

Maureen Stanton’s work has been featured in “Creative Nonfiction,” “Fourth Genre,” “Iowa Review,” “American Literary Review,” “The Sun” and “Riverteeth,” among other journals, and anthologies, including “Best of The Sun,” “Best of Brevity” and “Best Texas Writing.” She has received numerous awards, including the Pushcart Prize, the National Endowment for the Arts Literature Fellowship, and a Maine Arts Commission Individual Artist Fellowship. She teaches creative nonfiction at the University of Missouri.

Maureen Stanton: I am very concerned about the environment and the “carbon footprint” today’s manufacturing requires. I sincerely believe antiques are the ultimate “green” functional and decorative home items. Given the choice between old and new items, I always choose the old if at all practical. I am much more conscious of what I buy now and the narrative behind its production and manufacture. I always prefer to buy things that have a story or history to them.

Rebekah Kaufman: Would you comment on how you see the role of technology in the industry and the positives and negatives associated with it?

Maureen Stanton: Technology is a double-edged sword when it comes to antiques and collectibles. On the positive side, it is easier for buyers and sellers to connect, especially around rare or more esoteric items. On the negative side, it has changed the definition of what is “rare.” Something that seldom, if ever, came up for sale in the secondary market could appear twice or three times in a very short period of time, given the exposure and visibility the Internet now provides the world on a 24/7 basis. This can drive down prices and the perception of what is desirable based on rarity.

Technology has also shifted the responsibly of knowledge. In the past, it was important that the dealer or seller knew what he had, and priced it accordingly. Now, people can list things on marketplaces like eBay with very little knowledge and let the market identify and value the pieces.

It is also possible now to build a collection or a successful business without ever leaving your home—not attending shows, sales and events. Given the hands-on nature of the industry, this would be all but unthinkable only a few years ago.

Rebekah Kaufman: There has been a large influx of new television shows that focus on people making money buying and reselling vintage and antique goods recently. Do you think this visibly can help raise the average American’s interest in antiques?

Maureen Stanton: I think I have counted maybe 10 new shows of this type in the past two years alone, I believe there have been four new ones this summer! In my opinion, it is no coincidence that this is in lockstep timing with the ongoing recession. Everyone has a dream of finding a fortune in the trash or a dumpster. But this is a dream, and not a reality, which makes for good storytelling on TV. These shows in general have shown antiques as a commodity with possible value, and not the stories behind them and how hard it is to find them—which I think is the most interesting part.

I am also a little concerned that these TV shows have a slightly sinister tilt to them, that the buyers have knowledge that they are not sharing with the sellers, and are taking advantage of them. In reality, antique dealers are very concerned about this perception; most are very fair and trustworthy. Dealers are very concerned about their reputation; in this world trust and credibility are the most important things. Dealers in general really enjoy sharing their knowledge about an item; this is in part why many got into the business.

Rebekah Kaufman: Finally, do you think the antique business has a future here in the U.S.?

Maureen Stanton: Yes—I am not gloomy about this. Everything has peaks and valleys. I think what people are collecting has changed. People in their 30s and 40s now have a little money and are interested in spending it on items that remind them of their childhood. So the pure definition of what is vintage has changed—and gotten younger! The hope is that these sorts of items—dolls, comic books, toys, etc.—are gateway items to more expensive and exclusive things. Producers are also changing the rules for shows, allowing “newer” older things on the show floor in an effort to attract more people to their shows. As long as people have a need to own things that are meaningful, the antique industry will remain vibrant.

Rebekah Kaufman: Maureen, many thanks for your time and insights. It has been a pleasure to speak with you!

Rebekah Kaufman is a Worthologist who specializes in vintage Steiff and other European plush collectibles.

———————————

WorthPoint—Discover Your Hidden Wealth

Several readers responded with their thoughts in respect to the above. Ellie wrote e-mail: “The men in my family do not hold on to sentimental items. When my father died, the only items we had were letters (thank goodness he kept those), his broken wristwatches and his gun. I also think ‘household’ items are considered to belong [to] the lady of the house . . . Then again, when I worked in a coffee shop 15 years ago, I was shocked at the amount of money people spent for Mother’s Day. A new deluxe coffee-maker, a grinder, five pounds of beans and a new set of mugs for Mom. Come Father’s Day, customers would buy a half a pound of coffee for dear old Dad and be done with it. I thought it reflected the amount of time fathers spent with their children in the past—something that I believe is changing with today’s parents.”

Bill Castle offered this observation in his e-mail: “As to the point of why it’s always Grandma’s things, it’s probably related to bicycles. Boys’ bikes are worth more than girls bikes. The boys destroyed their bikes, so there are fewer of them around. Same with a lot of guy things. They’re broken, given to a buddy or sold. There aren’t many things guys hand down (guns being the major exception here in the South).”

Nick Ryan, an Australian whose grandfather was 100 when he died, noted in his e-mail: “Grandfathers . . ., unless they were handy at something themselves, like carving, rarely left anything as hand-me-downs—work was hard, hours were long. Relaxation time for the man of the house was probably recuperation time before work began. Maybe some fishing rods, some books, their own personal items like razor, etc., show up as treasured items, but that’s about it.”

Before proceeding, three points need to be established. First, there is no question that there are exceptions to every generalization that follows. This article offers concepts to stimulate thinking, not absolutes. Second, the article deals with personal items not collections. Collecting is sexist with many of the top; that is to say the most expensive collecting categories are heavily male dominant. Third, a collector and saver are two different entities. While a few savers transition into collectors, most do not.

On average, women outlive men. It is not fair. Why should women have this privilege? I cheer silently (I know better than to cheer out loud) each time I read an article indicating that the gap is getting smaller. In this era of women’s rights and equality, I am all for women dying at the same average age of men.

What does all this have to do with the survival of Grandpa’s things? The answer is as obvious as the nose on your face. The person who survives controls what happens to the other person’s stuff. Traditionally, the widow inherits the entire estate. The kids are expected to wait their turn. Societal convention demands this. It takes a strong man to leave a will that directs otherwise.

Well-meaning family members, friends and acquaintances advise the widow within days of a spouse’s or partner’s death to “get rid of his things and move on.” The pressure to discard is enormous. The grieving widow is overwhelmed. The kids do not live nearby. Besides, they never expressed interest in their father’s things.

There are far more “his” and “her” things in a relationship than there are “our” things. Once the man dies, the widow’s interest in his things vanishes. His clothing goes to Goodwill or the Salvation Army. The rest is sent to the auction or the dump. A widow might select two to five things to keep as remembrances; but, these have more sentimental than dollar value.

His family heirlooms get treated no better. Death often ends the wife’s relationship with the spouse’s family. A daughter-in-law is not the same as daughter. Few women call their husband’s parents Mom and Dad. Most martial relationships with the spouse’s family are not deep, but rather tenuous at best.

[Author’s Aside #1: This becomes compounded if a second or third marriage is involved and there are children from previous marriages. For the sake of argument, the assumption in this column is that the marriage is traditional and the couple remained together for a lifetime.]

My grandfathers and father were savers, based primarily on the “it’s too good to throw out” and “I will never know when I might need it” principles. Neither viewed what they saved as a collection. Dad had a coin collection, but it was a frivolous rather than a serious hobby.

http://www.worthpoint.com/wp-content/uploads/2009/05/picture.png

My father saved two groups of material. The first contained personal items, but not always family related. In addition to my Dad’s match rifle shooting jacket and medals won at shooting competitions, he saved a few headline newspapers and odd and end souvenirs from vacation trips. My mother was responsible for all the family albums and pictures including those of my father’s siblings and their family.

The second group of objects was utilitarian in nature, consisting primarily of tools he acquired from relatives. My Dad was not a builder, but he was capable of repairing things. If Dad bought a new object to replace an old one and the old one still worked, he saved it. “You never know” was among his favorite expressions.

[Author’s Aside #2: My mother and father lived through the Great Depression. As a result, they were minimalists, not materialists. My generation took the opposite approach. Today Grandpa’s and Grandma’s pile is overwhelming to the heirs. In 2011, I am not certain Grandma is doing better than Grandpa in respect to her things passing down through the family.]

If Grandpa’s things are lucky enough to survive during the lifetime of his widow, they face a fate worse than death when it comes time to dispose of Grandma’s estate. Women, often daughters or granddaughters, are faced with the task of disposing of an estate’s personal property. Even when a male serves as executor, he is quick to pass the disposal task to a female. The male does not have the time. Chances are the female does not either, but she is stuck.

I was around when my Prosser aunts cleaned out Grandpop Prosser’s home on Depot Street in Hellertown, Pa. His things and money were protected from outside female predators by the family encouraging (a polite word for the truth) him to marry my grandmother’s maiden sister Annie. Aunt Annie was never Grandma Annie to any of his grandchildren. Grandpop’s relationship with his eight daughters, especially his younger ones, was not the best. When my aunts entered the house after Annie’s death, “get rid of the stuff” was their rallying cry. The trash cans were filled to the brim with Grandpop’s things. I saved the goose-feather artificial Christmas tree and a few other small items.

Ellie’s contention that household goods are assumed to belong to the woman of the house was true historically. Women managed the house while the husband worked. While the reality of this ended along with the 20th century, the perception prevails and is likely to do so for another generation or two. Grandpa never owned the family china, flatware, stemware, pots and pans, furniture—the list continues ad infinitum. Grandpa owned what resided in the bureau in the bedroom and the areas assigned to him in the basement and the garage. Grandma controlled the rest.

I did not discuss the concept that the female is gifted with a level of sentimentality and romanticism far in excess of the male. This is a given. Females have a much stronger link with the past than do males. It is a grandmother-mother-daughter thing.

I welcome your thoughts about why grandma’s rather than grandpa’s things survive in greater numbers. My e-mail is harrylrinker [at] aol [dot] com.

—————————————

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

You can listen and participate in Harry’s antiques-and-collectibles radio call-in show “Whatcha Got?” 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 queries will be answered on this site. Harry cannot provide personal answers. Send your questions to: Rinker on Collectibles, 5955 Mill Pond Court SE, Kentwood, MI 49512. You can e-mail your questions to harrylrinker [at] aol [dot] com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2011

WorthPoint—Discover Your Hidden Wealth

Last weekend, around 260 of like-minded personal property appraisers gathered at the Gaylord Opryland Hotel in Nashville for the annual International Society of Appraisers convention.

The three-day event featured a lineup of speakers ,a who’s-who of antiques and collectible experts, from Leigh Keno (of Keno Auctions and “Antique Roadshow” fame), who spoke on integrity in the market place, to Joseph Bothwell, from the Internal Revenue Service’s Art Advisory Panel, who discussed changes to Appraisals for Tax Purposees.

There were talks on Civil War artifacts, American folk art, identifying different kinds of wood, working with adjusters and insurance companies, Southern pottery, antique frames, photography, Modernism, American silver and sculptures by Remington and Russell, to name a few of the choices.

In addition to the breakout sessions, ISA held an auction one evening benefiting the Foundation for Appraisal Education. Lee Dunbar—another “Antiques Roadshow” regular, was auctioneer for the evening and kept us laughing throughout the evening’s events. The Heart of Country Antique Show was running concurrently at the hotel, and across the street within walking distance The Fiddlers Antique Show, was set up. It was such a great weekend of education and antiques for an antique lover like me.

William Adair restores vintage and antique frames (Doug Blunt Photography)

I have been to numerous ISA events, and it is always an educationally enriching experience. But the one thing I found so interesting at the conference this year was a presentation about antique picture frames given by William Adair, who restores vintage and antique frames. He says that picture frame has been neglected over the years and is working to store what he can and educate collectors about why original frames are important.

The purpose of a frame, he says, is to complement a work of art. It should not be noticed, if it is noticed or stands out from the work of art then it is not doing its job properly. Over the years, museums and galleries alike, Adair says, discarded the old and original frames on fabulous art and replace them with reproduction frames. With the help of people like Adair, we are now beginning to understand that a period frame is a good thing. Many are worth restoration and not being discarded as they have in the past.

Antique frames aside, the most important message I left the conference with was that no one appraiser can know everything about every item. Know your own limits. Turn down jobs where you don’t feel comfortable or it is out of your niche. I am also learning that networking is a big key, and the great thing about being a member of the International Society of Appraisers is through the web site and our local chapter, I am able to connect with other members with knowledge in areas I may be weak in and get a second opinion, pick their brain, and make sure I am on the right tract with a particular appraisal. ISA’s focus is on education and a strong code of ethics. This education and knowledge helps appraisers move forward with a successful business.

I am already looking forward to next year’s ISA convention and I am anxious to find out where it will be held and the topics of discussions.

Maggie Turnipseed is WorthPoint’s lead Worthologist. She is a generalist.

————————–

WorthPoint—Discover Your Hidden Wealth

I seesawed back and forth in the 1960s and 1970s. I spent three years (1963-1966) as a Danforth Teaching Fellow in the Department of History at Washington University in St. Louis. While there, I did a special studies course under the direction of Charles Buckley, director of the St. Louis Art Museum. I served as director of archival research for Historic Bethlehem (Pa.) from 1966-68 and executive director of the Hugh Moore Park (a historic canal park) in Easton (Pa.) from 1968-70. I also taught history at Northampton (Pa.) Area Community College.

I returned to the University of Delaware in 1971 to work on a PhD in the History of Science and History of Technology, finishing my course work and qualifying examinations in 1972. Instead of finishing my dissertation, I accepted the position of executive director of the Historical Society of York County (1972-77). I also took several courses at York College. My dual academic teaching/museum career ended in 1981 when I founded Rinker Enterprises.

I have devoted 40 years to the study of antiques and collectibles and sharing the results with those who love the objects and the field as much as I do. Although I left the academic classroom, I never stopped teaching. I view “Rinker on Collectibles,” the books I have edited and authored, lectures, workshops, personal appearances and media appearances as forms of teaching. Antiques and collectibles allowed me the opportunity to answer both sirens’ songs.

The antiques and collectibles siren song remained the dominant of the two until my wife Linda accepted the position of provost and vice president of academic affairs at Western Connecticut State University in Danbury, Conn., in June 2006. Western’s Masters of Fine Arts in Creative and Professional Writing program tempted me. I enrolled and finished my studies in January 2010.

I re-entered the academic world in fall 2009, teaching one section of English composition at Norwalk (Conn.) Community College. Much of my professional success resulted from my writing, and I wanted to share that joy and excitement with a new generation. I taught another section of English composition at NCC in the spring 2010 semester and added a section of Public Speaking at Lincoln College of New England. Currently (the fall 2010 semester), I am teaching eight courses—two sections of English composition at NCC, three sections of Public Speaking and one section of English composition at LCNE, and one section of English composition at Southern Connecticut State University. There is no question I am overcommitted, and I know this only adds up to seven courses.

“Wunderkammer of Knowledge: Exploring the hidden spirit behind science, art, creativity and rational thought,” an honors course at Western Connecticut State University, is the eighth. I am one of seven faculty members that are team-teaching the course. The goal is to teach students how to wonder. There is no limit as to what they are to wonder. Just wonder.

An extensive local history collection comprising newspaper clippings and other memorabilia relating to the greater Danbury area is housed in the archive located in Western’s library. Students were assigned to cull through the collection until they found a topic that “wondered” (my apologies to my Pennsylvania German ancestors and friends) them.

One of my students chose to write about the building of the Danbury Mall, a large shopping center complex built on the grounds of the former Danbury State Fairgrounds in the mid-1980s. The Danbury Fair, established in the late 1860s, survived until 1981. In one of the classes, students presented a five-minute summary of their project. My student provided a detailed account of the controversy surrounding the building of the mall and its impact on the merchants in downtown Danbury.

When the class was over, the student asked me how he did. I told him I was very disappointed.

“Where’s the wonder?” I asked. “All you presented were facts. Didn’t they start you thinking?” The student looked puzzled.

After some discussion and guidance, the student finally decided that the controversy could be viewed in broad terms by wondering about the meaning of progress.

I find it impossible to look at an antique, collectible, or any object without wondering about it. There are the basic questions—who made it, how was it made, why was it made, how was it used, how was it marketed, and why did it survive? Answering these questions involves research; research which often leads in dozens of different directions. In some cases, answers are never found, thus creating a perpetual state of wondering.

Most individuals involved in the antiques and collectibles trade do not see objects as sources of wonder. Objects are intangible goods where secondary market resale value is the prime consideration. “What is my object worth?” is the question I am most often asked. The trickster is that value is momentary. Objects only have monetary value when a sale occurs. Before and after, they are worthless.

Recently, I have found myself wondering whether it is possible to become jaded through too much familiarity and contact with an object. Can objects lose their allure? How long can an appraiser, auctioneer, collector or dealer maintain his passion and enthusiasm? What happens when there is no longer a desire to pick up and touch an object? Can wonder be lost?

Several personal events have triggered my concerns. I celebrated my 69th birthday on Oct. 1. Collectors start slowing down in the early to mid-60s. They start thinking about disposing of their collections in their early 70s, a point I am approaching far too rapidly.

My home/office, the former Vera Cruz (Pa.) Elementary School, is listed for sale. I am facing the question that no collector ever wants to consider: what are you going to do with your stuff? Linda’s and my move to Grand Rapids, Mich., is compounding the problem. What I retain is contingent on the space available in the home or apartment we find there. My Vera Cruz home/office is more than 14,000 square feet and full. Our new home is likely to be 2,500 square feet or smaller. The fact that I have to get rid of things is depressing. How can I sacrifice even one object? I love them all.

I bought many of the objects I own because they wondered me. Boxes and shelves are filled with objects I plan to research when I have the time. Now, this may never happen.

Is it possible to wonder without owning? While the answer is yes, I found it a far easier task when I possessed the object. Space considerations have curtailed my buying for the past several years. I also am finding it increasingly difficult to find objects that “turn me on.”

One of the wonderful things about the antiques and collectibles business is that when the situation looks bleakest, something happens that turns it around. On Nov. 12, the Western honors class spent the day in New York. After a morning at the Metropolitan Museum of Art, the class spent the afternoon at the Museum of Natural History. Museums are tough environments—see but do not touch, admire but cannot buy. The day ended with the class attending a performance of “Carmen” at the Metropolitan Opera.

But, I am getting ahead of myself. Something happened at the Metropolitan Museum of Art that re-awoke my passion and enthusiasm for objects. I will let you wonder what it was until you read my next Rinker on Collectibles column.

————————————–

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

You can listen and participate in Harry’s antiques-and-collectibles radio call-in show “Whatcha Got?” 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 queries will be answered on this site. Harry cannot provide personal answers. You can e-mail your questions to harrylrinker [at] aol [dot] com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2010

WorthPoint—Discover Your Hidden Wealth

Colnect—available in 49 languages to collectors from around the world—provides a comprehensive collectibles catalog. The catalog is a wiki, created by contributing collectors on the free Web site. It is expected to replace most (if not all) printed catalogs by providing more up-to-date accurate information.

Colnect allows members to easily manage their personal collection by creating swap and wish lists using the catalog and to easily coordinate a swap with other collectors whom they are unable to meet. Colnect’s unique Auto-Matching feature can save you many hours of your time.

Many collectors use Colnect without registering and enjoy the free catalogs offered on the site, but thousands have taken advantage of the free membership to manage their personal collection with Colnect.

As part of the cooperative effort between Colnect and WorthPoint, WorthPoint members are eligible for free Premium membership on Colnect. Free members of WorthPoint will receive 1 month for free by clicking here, while WorthPoint paying members will receive two months for free by clicking here.

“We are excited to introduce WorthPoint to our collectors on Colnect” said Amir Wald, Colnect’s founder. “Valuations based on WorthPoint’s Worthopedia and Ask-a-Worthologist are bound to be of high value to our members.”

———————————

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

An early Meissen figural group, “The Four Seasons,” will be among the 1,300 fresh-to-market items in a two-day, multi-estate auction on Feb. 26-27, 2010, hosted by Richard D. Hatch & Associates in Flat Rock, N.C.

FLAT ROCK, N.C. – A spectacular two-day, multi-estate auction featuring the estates and collections of a World War Two pilot, a Southern artist and collectors of New England period furniture will be held the weekend of Feb. 26-27, 2010. More than 1,300 lots in a variety of categories will cross the block, as several other prominent local estates will be included.

Included will be mostly fresh-to-the-market items from the estates of Theodore Weisse, Jr., a famous decorated World War II Hump pilot; the late Southern artist George W. Beattie, Jr., whose merchandise has been in storage since his death 15 years ago; and Wilfred and Francis Ogg of Hendersonville, N.C., who accumulated fine New England period furniture and other antique items. The sale will be facilitated by Richard D. Hatch & Associates.

Also sold will be the contents of Sherwood, a historical mansion in Flat Rock. Offered will be a palace-size antique Farahan-Sarouk carpet, measuring 14 feet by 25 feet, six inches. Other wonderful rugs will also be sold, to include Heriz, Hamadan, silk Sumac Kazak and many more.

A rare Duffner & Kimberly vintage lamp.

“This auction has the finest antique Oriental rugs it has ever been my privilege to offer for sale,” said Richard D. Hatch, adding that “this auction truly has something for everyone. Even during the Great Depression, people bought fine and beautiful items. They represented an investment in culture and in history, something that could be passed down from generation to generation. I feel right now is a great time to buy. People can get so much more for their money than they could just a few years ago.”

Hatch said some of those great deals would be in the February auction, starting with the fine array of Tiffany, Pairpoint “Puffy,” Handel, Duffner & Kimberly, Steuben and other rare and vintage lamps; then continuing with early Meissen figures (including a set of the “Four Seasons”); and other porcelains, such as Sevres, Old Paris, Herend, Limoges, Lenox, KPM plaques, Wedgwood and more.

The glassware selection will feature names like Tiffany Favrile, Steuben, Baccarat (to include a rare bronze and crystal centerpiece), Lalique, Loetz, Moser, Venetian and others. The array of sterling silver and silver-plate offers a glimpse as to how the wealthy entertain, from sets of fine flatware to candelabra, trays to wine trolleys, Tiffany to Georg Jensen. Also sold will be a superb clock collection.

The estate jewelry is breathtaking. Items include a vintage platinum necklace with diamonds totaling 50 carats, an emerald and diamond necklace with earrings that total 70 carats, diamond and gemstone rings, diamond and gemstone bracelets and Rolex watches. Also sold will be Black Forest carved items and what Hatch called “the finest New England period furniture we’ve ever had.”

Fine artwork will cover every inch of the gallery walls. Featured will be a work by Andre Gisson (N.Y./Conn., 1929-2003), best known for his landscapes, still lifes, portraits and figural paintings. Some sources cite Gisson (real name, Gittelson) as a French painter, but in fact he only claimed to be French to more closely align himself with the Impressionist movement, born in France.

One of three etchings by the renowned Charleston artist Alfred Heber Hutty (N.Y./S.C., 1877-1954) up for auction.

Art collectors from Charleston will be treated to three original etchings by Alfred Heber Hutty (N.Y./S.C., 1877-1954), who actually worked for Tiffany Studios in Woodstock, N.Y., before moving to Charleston to be in a warmer climate. He was a leading figure in the Charleston Renaissance group of artists, active from 1915-1940. He was best known for street landscapes, genre paintings and etchings.

Other artists of note who will have works in the sale include Robert H. Nisbet, Stephen Voorhees, Maria Gianni, Leonid P. Baikov, Charles H. Hayden, M. Garms, C. Soer and Charles J. Burdick. There will also be works by Old Masters, portraits, a collection of Surrealism by Helmut Preiss, etchings by Louis Icart and Pierre Bonnard, paintings from the Hudson River School and more.

Bronzes will range from the 19th century to Erte and feature a Bergman lamp. A nice group of Southern pottery will also be offered, to include Roseville, Rookwood, Weller and even a couple of pieces by Pablo Picasso. Also to be sold will be samplers, quilts, coins, primitives, Biltmore Industries bellows, fine china, a collection of carved ivory, Black Americana, military items, music boxes, crystal, sconces, Art Deco items, a Roycroft-signed bookcase with books, and more.

Previews will be held on Thursday and Friday, Feb. 25-26, from 1-6 p.m., and on Saturday, Feb. 27, from 9:30-11 a.m. Live Internet bidding will be facilitated by LiveAuctioneers.com. Phone and absentee bidding will also be accepted. All sales will be subject to a 10 percent buyer’s premium (in-house and absentee bids) and 15 percent (online and live phone bids). Dealers and public are welcome.

For more information about this auction, call 828.696.3440, e-mail to hatchauctioninfo [at] yahoo [dot] com or visit the Richard D. Hatch & Associates Web site.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

The accumulator and collector are committed to the joy of collecting. They are passionate and enthusiastic, bound by the act of collecting and not what they collected. There is no limit to or prejudice toward what is collected. Watermelon-theme objects are as acceptable as antiques and collectibles. It is all égale.

The concept of collecting as a form of monetary reward is absent. Accumulators and collectors buy with no intent to resell. Their purchases are not part of their retirement plan or a hedge against inflation. Their objects will remain with them through their lifetime unless an unforeseen disaster occurs.

The accumulator and collector are rooted individuals. Moving is the farthest thing from their minds. The collector invests in display equipment and archival storage material. The accumulator buys or rents sufficient space and shelving to house his purchases. Whereas the collector eventually may find time to categorize and display his material, the accumulator constantly postpones this process. He plans to do it someday, but someday never arrives.

The accumulator and collector fall in love with what they buy. Objects are family, as important, sometimes more so, than a spouse or siblings. The love is unrequited. The accumulator and collector expect nothing in return. Possession is enough.

An accumulator buys whatever amuses him. It is that simple. His interest is universal. An accumulator has no need to justify a purchase. The only buying motivation he requires is a desire to own an object. An accumulator may not see the objects he buys for years, even decades. He does not care. He knows what he owns and, if necessity dictates, can find it, albeit some searches take hours.

I am an accumulator.

A collector focuses on what he collects. He is not attracted to objects that fall outside his collecting interests. A collector’s purchase enhances or upgrades an object in his collection. While a collector may own multiple collections, his limit is fewer than 10. Research literature, packaging, advertising memorabilia, catalogs and other paper ephemera, and additional secondary support material expand each collection. Although a collector may store some material, especially duplicates, his most ardent desire is to see what he owns.

I was a collector, but I crossed the invisible line that separates collector from accumulator. Once crossed, there is no return.

The accumulator is an introvert, the collector an extrovert. The accumulator prefers a quiet approach. Although known to advanced collectors, his outside contacts are minimal. He devotes his time to accumulating, not cataloging and displaying. He guards his sources and his research. While he may plan to share at some point, the day never arrives.

The collector enjoys showing his collection to others, especially other collectors. He often champions his collecting interest by participating in a collectors club, writing articles and books, and lecturing. His activities play an essential role in attracting new collectors to his favorite collecting categories.

Nature abhors a vacuum is an idiom. If it was a scientific fact, our universe would be sucked into a black hole. The accumulator abhors a vacuum. This is a scientific truth. The accumulator never has enough space. There is a symbiotic relationship between space and the accumulator. Once partnered, the two are inseparable. The accumulator’s mission is to fill space. While there is no timetable, quicker is better.

The accumulator creates piles. He layers objects and boxes on top of each other until the height of the piles exceeds that of the owner. The space between piles is so narrow the owner is required to walk sideways rather than straight ahead.

The collector confines his collections to a fixed space. While they can and do expand over time, they never invade an entire apartment or home. There is always a space where the collector gets away from his collections. The accumulator cannot fathom being away from his collection for a second.

The accumulator dreams of his next find. It makes no difference what it is. If the accumulator does not own an example, the find is an ideal excuse to start a new collection. An accumulator reaches nirvana when he buys at least one new object everyday. His bliss level increases when he acquires multiple objects on the same day. Multiple purchases do not create a day or more of grace. Each day begins with a blank buying slate.

The collector dreams about assembling a complete collection. Yet, he acknowledges its impossibility. No collector can ever own one of every example made, even the narrowest niche collection. This does not reduce his drive and determination. There is always a new discovery waiting to be found. The collector is inexplicably committed to the hunt. The story of the find becomes an integral part of an object’s history and adds to its perceived value.

The accumulator is driven, albeit he occasionally loses control. When the price is right (meaning cheap), he will buy multiples of the same object even though he has no plan to resell or trade the duplicates. An accumulator often ships objects home because he miscalculated the space available in his suitcase or car trunk. Serious accumulators have a collection of unopened shipped-home boxes.

“Addictive,” “obsessive-compulsive,” and similar terms have been used to describe the accumulator. These have a negative connotation and suggest the accumulator is delusional or mentally deranged. Nothing is further from the truth. The accumulator is a normal, rational human being, not a candidate for the loony bin (a phrase I realize is politically incorrect, but I am using it to make a universally understood point).

Author’s Aside: Since I am an accumulator, this argument is self-serving. At the moment, there are no medical restrictions on my ability to mingle in polite society. Because of my highly opinionated nature, my wife Linda has placed verbal restrictions upon me when I interact with members of her academic community, lest my remarks offend some of the piled higher and deeper crowd.

A collector is driven, but in control. He focuses on long-term goals. Historically, when a collector developed an interest in a collecting category, he spent the balance of his lifetime collecting it. Few of today’s new collectors make a lifetime commitment to a specific collecting category, but they do make a lifetime commitment to collecting. Unlike the accumulator, who assembles dozens of collections, the new collector’s final number falls between five and 10.

The accumulator and collector have great difficulty parting with objects, albeit the collector is better able to do it than the accumulator. Each has no qualms about making collection disposal a problem for their heirs.

Difficulty arises when the accumulator or collector is forced to move. The decision alone causes mental anguish. The moving process is traumatic—packing, deciding what to keep, disposing of what is not being kept, finding a home or multiple homes for the objects that are retained, and planning and engineering the physical move. Contemplating how to deal with what is moved and being able to find an object once it is moved results in mind overload.

“Now for the rest of the story,” borrowing Paul Harvey’s famous signature line. Linda and I sold 5093 Vera Cruz Road in Vera Cruz, Emmaus, the former Vera Cruz Elementary School, our home and headquarters for Rinker Enterprises, Inc. The 14,000-plus-square-foot building contains 50,000 objects ranging from reference books to collections. I have less than a month and a half to complete my packing process. Linda will finish her effort in another week or two. Our new rental home in Connecticut is a little over 2,500 square feet. You do not have to be a mathematical genius to see the problem.

By the time we settle, I suspect I should have a much better understanding of Hell.

————————————–

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

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

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

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

Copyright © Rinker Enterprises, Inc. 2009

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Fort-Shaped Pincushions

By Dolores Elliott

Archeologists define a projectile point type by listing the various characteristics that are shared by a quantity of points. Projectile points (dart, arrow, and spear points) vary widely in shape, size and material. Hundreds of different point types have been defined by archeologists who study the points used by ancient North American hunters
(over a period of some 12,000 years, point types changed tremendously).

Those points sharing similar traits are considered to have been made by members of a group of related people in a particular time period. If points from one site can be dated, it is assumed that other points of the same type at a different site date to the same time.

Likewise, types of Iroquois beadwork can be defined. As with points, pieces of Iroquois beadwork differ in shape, size and material used in construction. One such type is often referred to as the “fort-shaped” pincushion. These pincushions are shaped something like an 18th century North American fort. They range in size from 4.5 x 4.5 inches to 7.5 x 7.5 inches, the latter being the most common size. Most all of the pincushions are very firmly packed with sawdust.

Besides their shape, they share a couple more characteristics: they usually have four birds circling the center and those that have beaded words in the center have similar shaped letters; and the inscription “FROM NIAGARA FALLS” shares a wide letter “M” in by these fort-shaped pincushions, but is not seen on other pieces of beadwork with the same three words. So, in defining the type, it can be assumed that pieces of this type were sold at Niagara Falls. They were probably made by the same sewer. Those with similar shape with four birds but not identified as FROM NIAGARA FALLS can be assumed to be from there also. The wide Ms in the motto REMEMBER ME on one of the pincushions point to it belonging in this type. Another one with THINK OF ME on it also demonstrates this trait.

As for when the fort-shaped pincushions are made, there are some that are dated 1900 and 1901. Similar fort-shaped pincushions with no dates must also date to the turn of the century.

There are some pincushions that share some of the type characteristics but not all. Instead of having birds circling the center some feature four butterflies on the corners. It fits into the type. Likewise, another fort-shaped pincushion has four birds, but they are positioned on the corners instead of the sides.

Another set of pincushions that show a related type were probably made by the same bead worker. Instead of being fort-shaped, they are round-lobed pincushions. But they have birds circling the center and are labeled FROM NIAGARA FALLS with a wide M.

Other pincushions shaped like hearts or trilobe hearts may also share some characteristics with the fort-shaped pincushions and may have been made by the same bead worker, but that is for another essay.

WorthPoint: Get the Most from Your Antiques and Collectibles

What exactly are the Responsibilities of a Curator?

A Curator preserves history by collecting, selecting, cleaning, protecting, evaluating, interpreting and displaying objects of interest.

I am the Curator of my own collection, as you can be of yours!

I feel it’s not enough to accumulate antiques and collectibles … with ownership comes an implied duty to care for them and to share their meaning with others. A well-displayed collection is not only a testament to its owner/Curator but an inspiration to others who view it.

What can you do as Curator to best Honor your Collection?

1. Collect the best examples/upgrade as possible
2. Clean, then keep objects in display condition
3. Catalog each object with a description & photograph
4. Create displays that are both attractive & instructive
5. Continue to learn more about your objects
6. Share your knowledge with others
7. Volunteer to display your objects in public
7. Join an organization of similar collectors

Display, then Share Your Collection with Others

As a member of the Pressing Iron and Trivet Collectors of America, I have been fortunate to meet other “Curators” of personal collections. A lot of time, effort and love go into first acquiring, then displaying their prized irons and trivets. When I was in Kansas City recently for the 2008 Convention, those of us still in town on Sunday went to an Open House hosted by two local Members. The husband and wife housed their collection in a special room in their basement … and as you can see from the 1st photo, the display was both organized and attractive.

I have one long hallway where I display the majority of my trivets, but I find places to tuck in other small displays- like my collection of antique trivets surrounding an old French gilt mirror. And a low wall dividing a kitchen from the breakfast nook provides an ideal place to display trivets.

There are always opportunities to share your collection with others in your community! Contact your local paper and ask if they would be interested in doing a feature story about collecting. If your Public Library has locked display shelves, volunteer to create a display. Or take a few of your antiques to a local nursing home and present a program. Some of the audience may have used those very items in their youth!

With fll and then winter coming, there will be more time for indoor activities. Consider evaluating the current status of your collection. Have you kept accurate records and are your items in best condition and on display? If not, then consider (as Curator) what you need to do!

Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia.

WorthPoint—Discover Your Hidden Wealth

For over 25 years I was a trivet collector without a national group to represent me. Although I was the Leader of a prosperous Internet Trivet Group with over 250 cyber members, I longed for real world interactions with other collectors.

By chance, in 2003 I learned of and joined the Midwest Sad Iron Collectors Club, a national group for Iron & Trivet collectors. For several years I kept up with the MSICC activities through their quarterly Newsletter, but I never quite got around to attending their yearly Convention.

To make a long story short, in 2007 our daughter moved to Cincinnati- so my husband and I made the decision to travel to Indianapolis that August for the MSICC Iron Auction and Convention. We squeezed in a day visit to Mary before returning home.

We had such a wonderful time in 2007 that I attended again this year (2008) when it was held in Kansas City! Now my future plans will always include attending the Annual Convention.

Why is meeting, networking and socializing with other collectors so important? Because it inspires and energizes us as collectors! It gives us the opportunity to share our knowledge, while learning more about the hobby we love. And it provides the opportunity for Buy/Sell/Trade activities, which is especially important to specialized collectors who appreciate the chance to deal directly with others who understand the history, rarity and value of their items.

So … seek out and join an organization that addresses your collecting interest!

If you are interested in Trivets, Irons or other Laundry Day Collectibles, you would benefit from joining Pressing Iron & Trivet Collectors of America (formerly the MSICC; the name was changed in August 2008 to better reflect the demographics and interests of the members). For more information, contact PITCA.

Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia

Welcome to the fascinating world of trivet collecting!

By definition, a trivet is a three-legged stand. When used at an early hearth, three legs were important, because the design made a tall trivet more stable and less likely to tip over. As the hearth made way for the freestanding stove, new designs were created with shorter legs; these were used to protect a surface from the effects of a hot pan or iron. The term “stand” most correctly designates a trivet used to support an iron. It’s also used to describe a support with four or more legs, such as a tea or coffee stand. Today the terms trivet and stand are often used interchangeably.

Trivets continue to be manufactured and are still used today. Stands served their utilitarian purpose until the 1930s, when the electric iron (with its built-in rest) came into common use. Until then, while some stands were purchased, others were included in the purchase of a fuel iron or sadiron, or were received as an advertising promotion.

Trivets experienced a resurgence in popularity during the 1950s through 1970s, when housewives rediscovered their decorative appeal. A number of the more popular antique designs were cast at foundries such as Wilton and John Wright. Fortunately for collectors, the majority of contemporary trivets were signed at casting so that they are easily identified as reproduction.

Some collectors specialize in a specific era, while others welcome trivets from all eras in their collections. I choose to classify my trivets and stands as noted below.

• Antique: 100 years old or older
• Vintage: pre-1940
• Contemporary, Older Castings: 1940-1970
• Contemporary, Recent Castings: post 1970

Below I’ve provided a list of the categories of items that would be of interest to a trivet collector. Please check back at WorthPoint regularly for future research articles, which will discuss identification; cleaning, storage and display; value and rarity; the recognition of reproductions; and reference sources.

• Trivets Cast of Metal
• Wire Trivets
• Porcelain and Pottery Trivets
• Trivets of Wrought or Hand Forged Iron
• Sterling or Plated Silver Trivets
• Wood and Paper Trivets
• Reference Books and Trade Catalogs
• Ephemera: Paper, Postcards and Trade Cards
• Go-Withs: items that enhance the display potential of a collection such as Irons, Sprinkle Bottles, Figurines, Linens, Images and Kitchenalia

Are trivets and stands valuable and collectible? The answer is YES! The scrap metal drives of World War II reconfigured many earlier trivets into armaments and battleships, leaving fewer to be collected. Value can vary from $5 for the most common contemporary design to hundreds (or thousands) of dollars for the most elusive trivet. In 2007, a set of antique brass irons within two ornate trivets sold at auction for $24,000!

It’s always important for any collector to interact with others who share the same interests. Trivet collectors in the United States are fortunate to have a fantastic organization that can meet all their needs for networking, collecting, education and socialization. The Pressing Iron & Trivet Collectors of America (formerly the Midwest Sad Iron Collectors Club) was founded in 1984, publishes a quarterly newsletter and meets annually at a national Convention. PITCA also holds periodic meetings in regional chapters around the country. Any collector of trivets, irons or other laundry day items would benefit greatly from joining! For more information, contact PITCA at http://www.irons.com/msicc.htm

And, of course, you are cordially invited to join our WorthPoint Community, Trivet & Stand Enthusiasts.

 Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia

An often perilous venture for collectors is that of the “Limited Edition.” The whole term “Limited Edition” has fallen on hard times of late, debased by its use to include mass produced collectibles from stuffed toys to Elvis memorabilia. Few of these items even retain their original retail value, let alone increase in value.

The term “Limited Edition” in its true sense got its start in the Fine Art prints market, where an artist would offer high quality lithographic prints of his original work. The number of prints are limited generally to less than 500 copies, including the artist’s proofs for his own use (designated AP), plus printer’s proofs (designated PP). In a very small number of editions, there is an additional series called “hors de commerce” (designated HC). All of the artist’s proofs, printer’s proofs and hors de commerce are all separately numbered and signed by the artist ( e.g. Fred Jones- 37/500, 7/10 etc.)

While all of these features are no guarantee of a good investment, they do help authenticate what you have is indeed a limited edition item. Values for limited editions, like all things collectible, are driven by the market, and what’s sought after today might not be in five years.

In the case of some items changes can be dramatic. For example, in the recent past it was possible to stuff $100,000 worth of a popular line of fluffy toys in a large pillow case, now the vast majority of these stuffed animals (see image above) sell for less than fifty cents at online auctions.

Autumn is here, and it’s a busy time for yard sales, flea markets etc. These events are all great ways to get items to resell but the best things get snapped up fast and these sales can be very competitive.
Here are top ten tips to get the upper hand when buying. Don’t take them too seriously ;)

1. Get up early enough to switch the signs around, if your competition can’t find the sale, they aren’t competition anymore, now are they?
2. If you can get to the sellers before they’ve had their first cup coffee, you are ahead of the game.
3. If possible, bring a small child to offer a quarter on everything. Train them to go after vintage Barbie dolls and GI Joes.
4. Practice holding your heart with a faked shock look on your face when you get a price from a seller.
5. When you know there are enough people within earshot, I find this phrase helps. "How much is this Flow Blue cream pitcher with the furry spider inside it?"
6. Here’s another helpful phrase, this one is a twist on an old cliche. "My Gramma used to have one of those, in fact she had it right in her hands when she died."
7. Remember that small child mentioned earlier? The little imp can be used to distract other buyers by throwing up, crying, etc.
8. Pull out a hand full of change before asking how much a big ticket item is.
9. If it means getting in the basement or attic, inform the sellers you buy EVERTHING if it’s the right model or style, old tires, National Geographics. You never know what else you’ll see when you get in the house, the trick is to get your foot in the door.
10. Be so damn nice that people will have a hard time refusing low ball offers.
While this article was written in humor, I have actually seen each of these techniques used in action! Please feel free to comment with your favorite yard sale absurdity!

Thanks for reading,
AW

The author can be found at www.auctionwally.com 

The Auctionwally Network

The Examiner.com

While prices for the basic living necessities keep rising faster, the market for high end baseball cards seem to be growing more and more. Unlike when times were tough back in the early 1980’s when high end sports cards prices were at their lowest, this time around the baseball card market is just the opposite.

Then and Now

In the early 1980’s, when economic times were tough, prices of the highest valued cards fell and caused many dealers of that time to go out of business, or not see enough profit to afford to stay in business. The market right now in comparable economic times is booming. Recent major auction house prices for some of most recognized baseball cards continue to set record prices. To use 1 prime example, the 1952 Topps Mickey Mantle card #311 (see image); back in the late 1970’s/early 1980’s, this card in near mint/mint condition sold for $1,500. It wasn’t easy to find a buyer at that price either. Recently a PSA graded near mint/mint 1952 Topps Mickey Mantle sold at auction for $98,177.13 , passing one previously sold for $96,000.

A Sound Investment

The market for high-end baseball cards has grown to the point of being a sound investment and I think that is why we are seeing the opposite effect from the early 1980’s in the sales of quality cards. Back in the 1980’s it was almost impossible to name three cards that would sell for over $10,000. Today, you can come up with thousands of cards that would sell in excess of $10,000 in this market.

Of the cards for players that are recognizable (Babe Ruth, Lou Gehrig, Joe DiMaggio, Honus Wagner, Ty Cobb, Mickey Mantle, Roberto Clemente, Willie Mays, Hank Aaron, etc), all have cards of value in excess of $10,000. There are many other cards that are not recognizable by most that come from early production, such as various tobacco cards produced in the late 1800’s where you got a baseball card in a pack of cigarettes or chewing tobacco. Many of these cards have not survived the course of time, thus making them rare.

Paying Top Prices

Collectors and investors have been paying top prices to obtain the rare and big name player cards in the best condition possible. In my opinion, this is part of the reason for the sound investment in baseball cards. Their track history of value has proven to increase, plus the fact that you have a hard asset in your hand. If you invest in 10 shares of a companies stock you have a piece of paper that says you own 10 shares, not really something you would want to display in your house, but if you have Babe Ruth card (see image), it is something you not only invest in but take pride in showing to others. Aside from the investment factor having cards of favorite player’s fuel interest in the history of the game, it may bring back childhood memories, and keeps an ongoing interest in the current players for future investment.

Collecting Types

Many people do not see how collecting high-end baseball cards are an investment, but as long as there is some type of sentimental value attached with certain cards/players, the desire to own their favorites will never die. True card collectors who want to own many cards usually steer more toward mid-grade cards, by that I mean they buy cards that would rate 3-6 on a scale of 10, that way they still get a reasonably nice looking card and can afford more of them. Generally, the true collector is not looking for investment, then the true collectors with the ability to own the best will buy cards from the 7-10 range, but more likely the 9-10 range if such cards are available to them. It is the collectors that love the hobby, but just can not afford to buy much due to everyday living costs eating up their budget, they usually buy the cards graded 1-3 range, they still have the card they desire and surely not looking for investment purposes.

The investor on the other hand strictly is looking for the highest graded cards of the best sets on the market, for example a 1933 Goudey Babe Ruth card (pictured PSA 4) would be an investment card but more so in grades 8-10, they are very hard to find in that condition and highly sought after. The one pictured is a nice clean card, still has investment potential but will not see huge increases in price as would one graded 8 or even a 9.

As economic times get tough I see collecting cards to be a good solid investment because of the emotional attachment to the hobby/sport, the fact that you have an item you can display and still holds a good value. You will know that a particular card, what ever it may be, will not be filing for bankruptcy. The board of directors will not be producing more of them, and as time progresses other copies will be destroyed due to natural disasters and people not knowing what they have and discarding them. Just like in other collectibles markets like coins, comics etc. baseball cards produced in 1933 are just that, from 1933 and not reissued as authentic, as more and more disappear from circulation, the value has kept rising and given the track history of the last 20 years baseball cards have seen major increases in value far exceeding that of most stocks, bonds, and commodities.

With the investment history being sound and the fact that you have an original card in your possession when the stock market or economy is not allowing investors to increase their portfolio’s investing in hard assets has become very popular. As stated above, when a specific card is destroyed the value of the surviving ones increase, when a stock certificate is destroyed, another original can be obtained, additionally any board of directors can vote for more shares to be made available, sports cards are only replaceable by purchasing another copy but it still leaves one less available in the market

Any Market is a Good Market for Collecting

I am not saying for everyone to go out and buy baseball cards and look to get rich or that they all go up in value, like all hobbies and investments the card market has its ups and downs. Thorough research and education should be obtained to insure you are buying items that meet your needs, if for investment be sure you consult with experts to assist you, if for collection purposes an experts assistance is always good, collecting cards in both booming and staggering economic times can still be fun and rewarding, you just need to proceed with caution and enjoy the hobby. My next article will focus on grading sports cards and what it has done for the hobby, till then enjoy the hobby.

As hoped for, Chris McCallion the producer of Mothballs had a full tent for the Brimfield premier of his feature film about the antiques trade called Mothballs.
I’m not a movie critic but I know what I like and the flick was a lot of fun, it kept everyone in the tent laughing and at times, shocked them.
The antiques dealers stereotypes in the movie were nailed by Chris, as I looked around at the people watching the movie I saw them reacting wtih agreement and beaming amusement.
The story takes place in Brimfield itself, it’s a comedic and at the same time accurate look at our business. How can you go wrong when you have an Alien, a little person, a kangaroo and a magic box?
I don’t want to give too much about the story away because Chris hasn’t actually released the film for distribution yet, but I bet that when you see it you recognize most of the characters in the story as those you see every day in flea markets, antiques shows and auction halls throughout the country.
What we saw last night, was a rough cut, Mr McCallion hopes to have the final version out soon. Once the final cut is ready I hope to have some available at auctionwally.com
All of the dealers were happy to see one of our own aspire to such heights and were delighted to see a movie about our line of work. It’s about damn time we get a little attention!
Chris’s Mothballs movie wasn’t the only class act of the night though. There are some people who should be thanked for their generous spirit. Here’s who they are and how they helped.
Worthpoint.com provided the screen
The extra large viewing area was provided by the two dealers inQua Quaker Acres, booths 14&15 of the show,
Brain Harvey has booth 14. He makes the coolest bird houses I’ve ever seen. They are fashioned out of automobile license plates. Each is numbered and Brian has a network of people who call in when birds arrive in spring and are thus registered with an address!
He makes them to order and will build one out of license plates from your home state.
If your a bird watcher why not give Brian a call at (207) 369-0237
Thanks to Brian, we had a comfortable place to sit, free popcorn and pizza!
From Mason-Dixon Memories -1-860-388-3137
Booth 15 was Jim from Jim’s Cartoon Glasses and Related Items a Divisioin of Mason-Dixon Memories. Jim has an awesome selectionof cartoon items.
He’s in Old Saybrook, CT at 1-860-388-3137 or 1-860-388-2867. Whether your looking for Looney Tunes or Sylvester & Tweety, I’ll bet Jim has it. Give him a call.
Thanks to Jim as well for the space, popcorn and pizza as well!
When my friend, Dan Borsey from Worthpoint.com heard about the movie, he generously donated the use of the Worthpoint extra large display screen for the viewing. Without it, the tent full of us would have been huddled around a 22 inch screen trying to see and hear.
These are all people who had a long hard work week, and yet jumped at the opportunity to help a fellow dealer turned movie producer. I was proud of us all!
If you visit Brimfield in May of 09, please take a minute to seek out these people and shake their hands.
Maybe I’ll see you then!
The distribution details for the film haven’t been worked out yet, but Chris has promised to give me a heads up when they are ready, and I’ll pass along the information in this column and at Auctionwally.com

So it’s kind of curious that it took until 1925—long after the golden era of paperweight manufacturing 1845-1860 and despite the championship of royal collectors like Queen Victoria, Queen Mary, Empress Eugenie (Napoleon III’s wife) and Empress Carlotta (Mexican Emperor Maximilian’s wife)—for paperweights to be recognized as a legitimate, collectible art form.

The turning point came when Sotheby’s, in 1925, held the first-ever auction of paperweights and sold 82 for a grand total of $588! Compare that to the collector Paul Jokelson’s Pantin “Silkworms” paperweight going for $143,000 in 1984 and his “Bird in the Nest” paperweight selling for $182,600 at an L.H. Selman auction in 1990. And to the unique Clichy “Basket of Flowers” that fetched $258,000 at Sotheby’s in 1990, the highest price ever paid for a paperweight.

Rarity and demand have ensured a steady appreciation in price, making antique paperweights a good investment. So also paperweights by modern masters like Paul Ysart and Paul Stankard. But, remember, fashions change and what is valuable today may not always remain so. That said, if you’re going to start a paperweight collection, go for quality over quantity, and buy the best within your budget.

Some paperweight collecting tips:

Join paperweight collectors associations such as the Paperweight Collectors Association (formed by Paul Jokelson in 1954), Paperweight Collectors Association of Texas (formed on 28 June 1986), International Paperweight Society (formed in 1992) and Caithness Glass Paperweight Collectors Society (founded in 1976 by Colin Terris, the company’s master paperweight artist). Subscribe to their newsletters, and attend seminars and lectures on paperweight collecting.

Visit museums with paperweight collections—the Smithsonian Institution, Corning Museum of Glass, Art Institute of Chicago, Bergstrom-Mahler Museum in Neehan Wis., Currier Museum of Art in Manchester, N.H., Forsyth Center Galleries at Texas A&M University in College Station, Texas.

Read books on paperweight collecting, paperweight manufacturing, paperweight artists and glass studios.

Learn about past and present paperweight manufacturers. To name a few—Clichy, Baccarat, Pantin and St. Louis from France, Bacchus of the UK and the New England Glass Co. of the USA. Some late 20th-century glass studios include Lundberg Studios, Orient & Flume, Correia Art Glass, Lotton & Parabelle Glass, and Royal Doulton with the Caithness brand. Well-known individual glass makers include Michael Kane, Rick Ayotte, Lewis Dean Woodruff and Charles Kaziun.

Learn to judge quality and rarity of a variety of paperweights. Paperweights come in different shapes—dome top with a flat or concave base and faceted or etched interiors, high domed, tall paperweights, egg shaped, pedestaled paperweights—and different types—Millefiori, Lampwork, Sulfide, Swirl, California style, Victorian portrait and Advertising paperweights and Silk Glass.

Attend the regular auctions conducted by L.H. Selman Ltd., Sotheby’s, Christie’s and Boisgirard and check past auction results to get an idea about value and pricing.

What paperweight collectors should know

• All handmade paperweights have variations or flaws in them. The more perfect the specimen, the higher its value.
• Discarded designs are in higher demand; limited editions not necessarily so.
• Provenance is necessary if the paperweight came from a famous or historic collection like that of Arthur Rubuloff, Evangeline Bergstrom and Robert Guggenheim.
• Grinding and polishing old paperweights to remove scratches or blemishes reduces their value.
• You can get paperweights at flea markets, antique shops and at online sites such as eBay, but very seldom the rare valuable ones. For those, contact a dealer specializing in paperweights. Some are Leo Kaplan Ltd, Pat McCauley and Alan Tillman.

WorthPoint – the premier Web site for art, antiques and collectibles

Think of yourself as an athlete getting ready for the Olympics. You must train, strategize and move quickly. With more bidders than good collectibles in the world and with most bidders being pretty canny and well informed these days, you can count on a real contest.

And just as athletes often psych out their opponents, so should you be ready to do some head trips on the other bidders if you’re going to take home the “gold”—that prized collectible you desire. So prepare yourself.

Collectors take your mark—auction tips

Research the works you want to buy. Get acquainted with their provenance. Fix your budget in advance so you don’t get caught up in bidding mania. And decide whether you’re going to bid in person, by phone (register a day before), by absentee bid (register a day before) or online with real-time video and audio (register two days before).

Bidding by phone or online is popular both for the convenience and the anonymity it offers. If you are a bidder that is known for the quality antiques and collectibles you purchase, others might latch onto the item you’re aiming for and push the price far higher.

If attending in person, sit where you can clearly hear what the auctioneer is saying and get him/her to notice your upraised paddle. Misunderstandings are all too common in the fast-paced auction atmosphere.

Keep a cool head. Even if the conversation around you is full of interesting tidbits about the items for sale, don’t be swayed from your predetermined plan or volunteer too much information. It’s every man for himself at an auction, and people aren’t above taking advantage if you show a chink.

Win those collectibles

Alas, there are no surefire bidding strategies. You discover what works for you as you go along. You can—

• Bid from the very beginning and keep bidding until you win. Do this often with the cheaper items and other bidders, seeing your persistence, may just let you coast through when the pricey collectibles you really want come along. Then again, if they have the same idea, the same determination and more money, you’d just end up with a lot of unnecessary memorabilia.

• Wait until the auction is underway before making your bid. This gives you the opportunity to appraise the direction the auction could take.

• Wait until the bidding has slowed down to make your bid. Some collectors like to jump in just before the final hammer. Aside from the dramatic value, it can throw competitors. They may not be prepared to bid higher.

• Bid in small incremental raises. This is playing it safe and smart.

• Or, bid in large incremental raises. If done often, this can have an intimidating effect on other bidders. For example, if you top a $500 bid with $200 and continue at that rate, people will get wary about bidding against you, and you may win—and, if you’re lucky, at way below the estimated sales value.

Hi! My name is Robbie Jean, I am so pleased to have “tripped” over this site! I’m new to this & I’m looking forward to many chats about stuff! My husband & I just recieved a storage unit, something I’ve wanted to do for a long time. He goes to flea markets, I clean the units. This is our 1st one, but already I’ve found some interesting things! My late aunt used to go to auctions & flea markets so that’s where I caught the “bug!” I, too, am amazed at the things people lose or just throw away.

By Lee Graves

You can’t accuse Will Seippel of escaping into his hobbies when he comes home from work. If anything, the collectibles in his Georgia home serve as the model for his business, and they provide a window into the passions of this Virginia native.

Figures and posters from “Star Wars.” A set of standard-gauge Lionel model trains. Jerseys worn by pitcher Nolan Ryan. A warm-up jacket worn by New York Yankees great Mickey Mantle. Antique black-powder muzzle-loading rifles.

They’re all an extension of the Boy Scout merit badges Seippel started collecting as a youth on trips from his home in Clifton, Va., to the Philmont Scout Ranch in New Mexico. “It was a long bus ride to Philmont, and we traded badges a lot along the way,” says Seippel, 51.

Not long ago, two catalysts combined to spark Seippel’s entrepreneurial energies. The result is WorthPoint, an online resource for people who want to find the value and learn the history of antiques and collectibles.

One source of inspiration came from the vast amount of stuff the Seippels had to sort through after buying an 18th-century house in Kennebunkport, Maine. Another motivation came from a financially beleaguered woman who, in going through the belongings of her deceased mother, discarded a complete set of Ebony magazines.

“I didn’t have the nerve to tell her that all the answers to her financial problems went into a Dumpster,” Seippel says. “I just thought, ‘There’s got to be a way to help people and to build a business.’”

So Seippel, who had established a reputation for revitalizing ailing companies, started WorthPoint about a year ago. He now serves as its CEO. The database covers more than 2 million items, and the payroll has grown to about 80 employees or consultants worldwide, including “worthologists” who provide expertise in various fields. The company’s headquarters moved from Reston to Georgia Tech’s Advanced Technology Development Center this spring.

WorthPoint still has an office in Tysons Corner, and that, plus Seippel’s position as vice chairman of the business school at George Mason University, his alma mater, bring him to Virginia several times a week. “Virginia is still in my heart,” Seippel says.

The business

You name it, somebody collects it. From Beanie Babies to baseball cards, the universe of collectibles defies easy description. For some, it’s art; for some, it’s beer cans; and for others, it’s the Model A that Grandpa drove on Sundays.

That is actually one of the defining characteristics of a valuable collectible — its appeal from generation to generation — says Will Seippel, founder and CEO of WorthPoint.

Grandpa and his buddies bought Model A’s because they were popular at the time, just as Seippel once bought a souped-up Mustang. “The real question is that after my generation goes through them and has fun with them, will another generation want them?”

Online trading through companies such as eBay has revolutionized the collectibles market, which is estimated by OTCHotline.com at $120 billion worldwide. In 2006, there were 84 million active eBay users who sold more than 500 million collectibles. In addition, there were more than 100 million collectors globally and 30,000 appraisers in the United States alone.

Baseball cards, which have been collected for decades, saw a new high last year. A T206 Honus Wagner card, called the Holy Grail of baseball cards, was sold to an anonymous private collector for a record $2.8 million.

Events

July 11-13: Collectors Showcase of America Show, Dulles Expo and Conference Center, 4320 Chantilly Shopping Center, Chantilly. (540) 456-6877 or http://www.csashows.com.

Aug. 9: Horsepasture Ruritan Building Antiques and Collectibles Auction, 16197 Philpott Highway, Henry County. Old-fashioned auctions, held monthly. (276) 340-6441 or http://www.auctionzip.com.

Sept. 20-21: Tidewater Division Model Railroaders 2008 Model Train Show and Sale, Virginia Beach Convention Center, 1000 19th St., Virginia Beach. (757) 426-2811 or e-mail nawneycreek [at] msn [dot] com.

Two players — online powerhouse eBay and television’s “Antiques Roadshow” — hold marquee positions in the business, but collectors have numerous other resources:

• WorthPoint — is building a database coupled with an array of “worthologists” to help people learn the value and history of antiques and collectibles. http://www.worthpoint.com.

• Collector’s Universe — provides services such as authenticating and grading high-value collectibles, including coins, sports cards, autographs, stamps, currency, diamonds and colored gemstones. http://www.collectors.com.

• National Association of Collectors — an umbrella group serving collectors and collecting clubs of all sorts. http://www.collectors.org.

If you are just beginning your collection, you might want to start by reading my earlier posts:

“How to Start a Baseball Card Collection”

“Where to Find Baseball Cards”

“How to Store Your Baseball Cards”

Identifying the Cards
The first step to cleaning out your baseball-card collection is identifying the cards that don’t suit your needs. Whether it is a duplicate or perhaps a card that just doesn’t flow with the rest of your cards, you should set all of these items aside. Keep in mind, a few good cards surrounded by a bunch of filler is not a worthwhile group. Much like the exercise programs we all start at the beginning of each year, the goal of your spring-cleaning should be to trim the fat.

Know the Price
After identifying the items you no longer need, it becomes necessary to research their value. The Worthopedia guide helps collectors identify the worth of all of their collectibles. Just because a card doesn’t fit into your collection doesn’t mean you shouldn’t get full value for it. For this reason, you should make a list of all the cards you no longer need and the value you expect to receive for them.

Trading Baseball Cards
One popular method of cleaning out a baseball-card collection is trading the unwanted cards with friends or other collectors. It’s like the old saying goes, “One man’s junk is another man’s treasure.” In other words, the cards that you no longer want might be the perfect fit in another’s collection. Likewise, the person you are trading with could have some cards that are more suitable for your set. For instance, I prefer collecting older cards, so I could trade my newer cards to someone whose collection focuses around modern items.

– Find Your Desires When beginning the trading process, the first step is to identify cards in the other collector’s set that you desire. These should be cards that you can incorporate seamlessly into your collection. You don’t want to acquire more cards that you will end up not wanting in a few months from now.

– Negotiate Until You’re Happy Trading baseball cards is a long process that involves a lot of negotiation. It’s similar to the trading procedure that takes place in the sport. Teams bargain with one another until they arrive at a deal that satisfies both parties. This is why it is necessary that you research the value of your items that are up for trade. You want to ensure that no one takes advantage of you. Both traders must add in the right pieces to sweeten the deal for the other because negotiation is a two-way street. You have to be willing to give to receive.

– Finish the Transaction After you arrive at a deal that you are happy with, it is time to finish the deal. Exchange the cards, and make sure that you and the other collector are both satisfied. Take the steps necessary to store your cards in a safe manner. You should also organize them in a manner that is consistent with the rest of your collection.

Enjoy Your New Collection!

Doesn’t it feel good to have a nice, clean collection? I always enjoy sprucing up my collection by trimming the fat and injecting some new life into the set. Trading cards really makes the whole collecting process much more fun, and it can create some new bonds with other collectors.