Here is a sampling of what readers are saying. Please don’t hesitate to send us your thoughts.

——— WP ———

Lots of children make presents for their mothers on Mother’s Day. Lots of the gifts have a flower theme. Christopher Kent’s recounting of what his mom did with flowers in “A Mother’s Day to Remember—1965” elicited more than one comment.

Thank you for sharing that heartfelt story about your mother. It reminded me of those halcyon days of the 1960s and the structured lifestyle we all lived. Sadly, the humor of those days is passé, and we are hard pressed to find a good laugh anymore. Thanks again for a laugh and a tear.

Robert

You painted a picture so vividly, I could imagine being there. Brought great memories of my mom and dad. Thanks so much.

Alison

This brought tears to my eyes. Thanks, Christopher! I think I would have liked your folks!

Lisa

What a wonderful story, Christopher, a great memory of your parents on Mother’s Day. Thank you so much for sharing it!

Barbara

——— WP ———

As you’ll learn by reading “Chris Hughes—Seeking a Collectible’s History,” Chris is real treasure seeker. And the treasures he most likes to find are military items and the stories that go with them. But he has lucked out this time. It was Jack who came seeking him.

We have one of those WWII uniforms in our garage. It is a Canadian uniform worn by an American who enlisted to fight Germany. George Knowles Sr. thought the American politics of the time were alarmingly wrong not to get into the fight. So he enlisted in Canada’s armed forces. He never received any pension or post-service benefits from either country since he was serving outside his domain of origin.

We would gladly send you this uniform for the cost of shipping just to have our garage space available. George Senior went on to achieve 17 patents for Coors. One of which is the aluminum pop-top beer can. Quite a man!

Jack

To which Chris replied:

Jack,
That is greatly appreciated . . . This uniform sounds like it would be great fun to research and author an article on!

Chris

——— WP ———

Steve found the profile of Worthologist Christopher Kent, “Christopher Kent: A Man for All Seasons,” a “gem.” We’re glad because Christopher himself is a treasure.

This brief summary of Christopher Kent’s career is a gem. The ability to identify a pivot point like this lunch box sale in the market and explain how such a sale was a catalyst for market transition to a new parameter is true wisdom. There are book-learned people being turned out of colleges like factory farming right now, but here is an example of a man with a career who has genuine talent enhanced with common sense and a dose of “book-learning,” which didn’t ruin him. Thanks for this wonderful story.

Steve

——— WP ———

The insights and observations in Harry Rinker’s story, “With Gold Sale Parties, It’s Caveat Venditor, Not Emptor,” hit home with readers. And the reaction in the following comments serves to reinforce the importance of the WorthPoint mission. As Will Seippel, founder and CEO of WorthPoint, said after reading the responses, “That is why we are here—to help people learn the value of their items and how to sell or buy them!”

I loved your article. In 1996 I, too, was taken to the cleaners out of desperation. My chiropractor husband got Alzheimer’s, and we were losing our home. I went to an antique shop and sold off most of my sterling Tiffany, brilliant period crystal and diamond jewelry. I think I got around $1,200. The jewelry alone was worth double. The crystal also double.

But I knew resale was always less . . . or so I thought. I told the antique dealer I had more stuff, so he came to my home to look. Well, I had a dirty Waterford vintage crystal stemware on the kitchen counter. He saw it and asked if I had any more. I opened my cupboard, and he saw my 32-piece set in four sizes. He said he would put those on his buy list. We then go to the living room, and he spots an antique, very small Persian rug on the floor and a 1918 watercolor above the piano. He examined all the items and made them out to be “So So.”

He pulled out $200 for the rug, painting and crystal. I, like a desperate fool, accepted it thinking after he paid me $1,200 the day before that he knew his prices. He said he would be back. After he left with all my treasures, I got a weird sinking feeling in the pit of my gut. The next day when he returned I told him NO THANKS, I was finished selling. He hesitantly went on his way, and that was that. I to this day could KICK myself for being taken. Now again we are in desperate times, but I have learned and will be Caveat Venditor. Thank you for your article.

Linda Rowan

The irony of the situation is that I was having a discussion on the vulnerabilities of those who find themselves at a disadvantage because they have to sell precious heirlooms to satisfy their financial obligations.

I’m extremely grateful that you wrote this, and it further reinforces the fact those who have chosen this profession are not all thieves and predators. I have sent this to friend and foe alike. It should be printed as a public-service announcement in all publications.
Once again, thanks.

James Adams

——— WP ———

Not surprisingly, Lt. Lawson Reichard’s World War II diary has generated much interest. It is one man’s experience in the “Good War” in his own words as he made his daily entry. A reader sent a comment about a project to preserve the real story of the conflict as seen by someone not in the upper echelon of command or leading daring raids. Rather a relative working with the Red Cross in North Africa.

I am working on my aunt’s letters from Africa and Europe during WWII when she worked for the American Red Cross. I am also searching for other events that were happening at the time of each letter. When Lt. Reichard’s was still in the U.S., my aunt was in Casablanca with the Red Cross. I am hoping to form all of her letters and corresponding events into a book for her nieces and nephews.

Tobey

Hi Tobey, That is wonderful that you will work to preserve that part of your family’s history. We really are the last generation to have firsthand accounts to learn from. I hope you continue to follow Lt. Reichard. He does eventually get overseas. It might be fun for you to track them together. Please write back as you get into your aunt’s letters, and keep us informed about how your project is going.

Alison Harder

——— WP ———

After reading “How to Repair Vintage Fur Yourself,” Annie had a question for Sharon Maxwell-Yamamota, WorthPoint’s vintage-clothing and accessories Worthologist. The answer may not have been what Annie was hoping for, but some novel Christmas decorations could be in the offing.

I have a beautiful jacket that I have barely worn that I can peel the fur with my fingers. Is there any help for restoring the fur? It’s an old jacket. Thanks.

Annie

Hi Annie,
I’m sorry to tell you that if you can peel it so easily with your fingers, it’s too far gone to do anything with. That is best used for crafts, like making Santas and such, using glue, since the skin would never hold a needle and thread at this point. Sorry!

Sharon

——— WP ———

And many thanks to prh for catching an error in a headline, no less. He noticed that the date for the Weekly News Roundup was 2006. We always welcome corrections.

——— WP ———

Kathy sent this question after reading “WorthPoint Offers a 14-Day Free Trial,”and Marci responded, a great example of the WorthPoint community’s give-and-take.

I would be interested in finding out how to buy and sell antiques. How do I become involved?

Kathy

Kathy, you “could” accumulate antiques and hang your shingle, but there are far better ways.

Be certain that you have knowledge first. How do you receive it? Well, by taking antiques classes, reading everything you can get your hands on, visiting antique stores and shows, attending auctions, checking auction results, etc. Speaking with seasoned dealers and asking questions. Then you must get a tax number to file sales tax.

Selling antiques is a lot of hard work, but if you have the passion, you won’t mind the work. Good luck with your endeavor.

Marci of The Way It Was Antiques

——— WP ———

It’s always nice to get positive feedback. In this case, it’s on Harry Rinker’s positive story, “Good News for Dealers—Finally.”

Great article. I am having success in my antique/gift shop even in the downturned economy. I am the “face” of my shop and work to serve the customer. I also take items on consignment from local folks and enjoy helping them out, too. It gives me a great variety in my shop. (Tickled that you used my picture of the pink Depression glass perfume bottle that I have listed on goantiques.com!) Thanks for the positive article

Carolyn of Memories Past and Present

——— WP ———

The Internet has brought the world closer and as evidenced by this comment to “Wooden Carousels: Historic Collectibles’ Worth Preserving,” spans the generations.

I am the granddaughter of E. Joy Morris. Thank you for recording his importance in carousel history. He often gets lost because of being over shadowed by PTC. I agree that the Kit Carson County Carousel is the finest American carousel in existence. One of my goals is to be able to visit one day. I have yet to see it in person.

– Morris Cook

I do hope you have a chance to ride this carousel. The craftsmanship is remarkable, and it really is a ride back into the past.

Here’s the next best thing to being there—a link to the video about the Kit Carson Carousel. Click here to view it.

— Mary Brenneman

——— WP ———

I am so glad you put all these wonderful comments in one place! I love hearing what other members have to say, and sometimes their thoughts point me to an article that I might not have otherwise read. Hope you make it a regular feature.

— Alison

——— WP ———

Barbie’s turning 50 and a number of you commented on Sandy Stuart’s story on Barbie’s birthday.

I am a collector too, and I hope Barbie stays around for a long time for other generations to enjoy. I still have my Barbie from 1969. My granddaughter also loves to play with Barbie. I have started a collection for her.

— Debra

Personally I think that Barbie should be retired. The vintage dolls would escalate in value on their own merits. Barbie is doing a burnout and it shows.
Thank you and good-bye Barbie.
I am a collector with lots of Barbies, but only #3`s.

— Mary

——— WP ———

Worthologist Christopher Kent’s story of a pint-sized antiques expert also garnered a number of comments including some from his fellow Worthologists.

Oh the adrenalin of the chase, and my you found a corker.
What happened to the cobra in the end, and is that gifted child still in the business?
You have a way with words, and have perhaps missed your calling. More please!

— Maria

——— WP ———

Hello Chris, Great article! I look forward to your articles, knowledge mixed with a bit of wry humor. I will do my best to emulate you! May I ask…who is this mysterious and precocious 7-year-old?

— David Mycko, Worthologist

——— WP ———

Christopher added this postscript to his story.

It is with great sadness that I report that after 71 years in operation Merritt’s Antiques will be closing their doors as of May 2. With a possible on site auction of the remaining contents. The reason, reports general manager Randy Westley, ”It’s not just the economy but it’s difficult to find good antiques.” The company will concentrate on its internationally known clock shop as well as the doll segment of the business. It is indeed the end of an era and the passing will be mourned by many.

— Christopher Kent, Worthologist

——— WP ———

Another Christopher Kent article, “How To Clean Silver–Buyer Beware,” brought this question from a Ina.
I purchased some 1847 Roger’s Brothers flatware to replace some missing pieces. Unfortunately the seller had “dipped” the pieces and the detail has lost much of its color.
Can that be replaced?

— Ina

——— WP ———

About Sandra Lee Stuart’s story, “What’s Hidden in Your Attic?“, a reader wrote about some of the oil paintings she had inherited.

I inherited many framed oil paintings of southern settings by Georgia artist, Pamela Renfro. They are typical of her work in that they are well executed, nostalgic depictions of country homes, stores and landscapes with great detail including animals, quilts, antiques, etc. I believe they were done in the late seventies and early eighties, before her work was commissioned by Coca Cola and other corporations.

I have been unable to find her work for sale anywhere on the Internet and wonder how to price the paintings for sale.
Do you have any suggestions?

— Katherine

——— WP ———

Writers also wrote in with comments about two of Worthologist Fred Taylor’s articles including this one from Pete about using a cupboard for a stereo cabinet.

Mr. Taylor, I had not thought about using my family’s older furniture for anything other than what it had been intended for. You gave me a great idea on how to use an old cupboard for my stereo equipment. Thanks for the insight.

— Pete

And in response to Fred’s article on locks, Ken wrote about an old china cabinet that he can no longer unlock.
Thank you for this wonderful article! My wife and I have an old china cabinet with a full mortise lock. It has worked fine for a few years, but now the key will not open the lock. The key is notched. As the key is turned, it seems to get stuck before it engages the bolt. Based on you terrific diagrams, I would guess that the security ring may have been bent slightly and that this denies the key the ability to turn fully. Is this a reasonable guess in your opinion? Do you have any suggestions as to how we may overcome this problem? Thanks again for the article.

— Ken

——— WP ———

Our latest fly-fishing video by Worthologist Steve Ellis received this comment about selling chewed up in poor condition fishing lures. Fred’s response is interesting too.

Garage sale time just around the block!
I’ve sold the chewed up missing eye, rusty hook lures to artists. Buy em cheap and sell em cheap… the lady’s love them. Your going to pay for better lures there are so few around. He’s right about the word “MINT” with lures… I think of it as “Un-fished” with the BOX and Label. Garage sale time just around the block!

— PickerBrad

——— WP ———

And finally on one of Comic Book Worthologist Matt Baum’s articles, we found this sad question from one of our readers. Do any of you have advice for Travis?

I just lost 100s of old comics in a fire. I didn’t have issues listed and saved for protection. How do I place a value on them for insurance purposes?

— Travis

——— WP ———

What’s On Your Mind – March 5, 2009

On Linda Stockwell’s story on Mary Alice Hadley pottery, one writer is looking for seconds—those less-than-perfect and therefore less-expensive items.

I am seeking “seconds”… there used to be a source in Oconomowoc, Wisconsin where I could purchase Hadley pottery ware at a discount price. If these sources are still available, please direct me to the nearest one. I live on a farm; I do not collect this dinnerware as an investment; I use it for everyday enjoyment. I have no concern for rejects due to color, mismatch or small chips. Thank you,

—Mari

——— WP ———

Worthologist Chris Hughes wrote back to a reader who commented on his story on the good old days of antique collecting, which to Chris are the late 90’s!

Carol,
Thank you for reading. I agree that a deal can be had when bartering in a shop with a dealer, but I’ve also found that online dealers create opportunities for a bargain. Two weeks ago, I bought an item online that was unknowingly priced at least 2/3 below market value. There are deals to be had everywhere, especially in this economy! I also like to recall the items that got away because it keeps me charged up, hoping to get a second chance if a comparable item pops up.

–Chris

——— WP ———

James Taylor’s article, “Your First Coin Show? Eight Tips for Success,” garnered a number of comments, including this one from an appreciative reader. James is the president of ANACS, the oldest coin grading service in the United States.

That helps me a lot. I have many vintage silver coins, which were in my great-aunt’s estate, we didn’t want to sell them but with these economic times my grandpa really needs the money. Appreciate the info.

——— WP ———

“Simply put, people aren’t going to buy collectibles from athletes with tainted numbers,” says writer Eric Brantner in his article on Alex Rodriguez collectibles. One reader wrote:

Let’s just see what A-Rod does this year. He is one of the best players to ever play the game, with or without steroids. You can blame the players, but I would blame the amount of money these players are getting for all the steroid use. If there were a cap on what players could make, like $1,000,000, players would stay with the team that drafted them and would not take all these steroids. A-Rod has had some great years with the Yankees while not taking steroids, so just how big of a part did steroids really play in his numbers?

—Tim Meyer

——— WP ———

Worthologist Liz Holderman wrote back to two readers who commented on her series of articles on collectible book terminology.

Ron: You are right, book terms are often used loosely and interchangeably, which is why they are sometimes so confusing. Technically, “hinge” is supposed to refer to the inside junction of the spine with the binding and “joint” to the outside. But many sellers don’t make that distinction. “Gutter” (another duplicitous term) can either refer to the outside indention made where the boards and spine are joined (like a bowling gutter), or the inside indention where two facing pages meet.

Jacqueline: Thanks for your excellent response on the definition of “tipped in.” Part V of this series will cover illustrations and that is one of the terms that will be discussed. I’m thrilled and impressed to learn that the Boy Scouts have a merit badge in book binding! Book repair is always an option of course, and it can save a beloved book for shelf value. I had an old family bible fully restored for just that reason (although it was very expensive). If important pages or the covers are missing, restoration will not improve the retail value very much, but it can certainly bring new life to a family heirloom.

——— WP ———

Sharon Maxwell-Yamamoto, our Vintage Clothing Worthologist, is an opera singer who enjoys her glamorous vintage furs. When she paid good money to a furrier for a repair that she found inadequate, she decided to do repair it herself and she’s sharing what she learned with our readers. Perhaps it is our less than robust economy, but her article “How to Repair Vintage Fur Yourself” that is bringing out the DIY attitude in many of our readers

Dear Sharon, Thank you so much for generously sharing this information! I am just beginning to use fur and would appreciate any other information or ongoing email exchange with you. I have purchased two eBay furs that need some work and the furrier has gone out of business so I am on my own. I have many years of experience sewing… but not on fur. Can you recommend any books, pre”fur”ably with detailed pictures? Again, thank you.

—Thula

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Some publishers clearly state “First Printing” or “First Edition” on their books’ title pages, which make identification easy. But most first editions are very difficult to recognize.

Unique Publisher Markings—Every publisher is different, and most changed their first edition markings many times throughout the long history of their business:

• Some publishers don’t mark their first editions at all, but subsequent reprints are always noted as such;
• Some publishers show the year of publication only in their first editions;
• Some publishers print their logo (or seal) only in their first editions;
• Some publishers print a single capital letter on the copyright page to indicate the edition number. The letter “A” would be a first edition, while an “E” would be a fifth;
• Some publishers use a series of numbers or letters, eliminating the first number or letter in the series for each new edition. (1 2 3 4 5 6 7 8 9 10 would represent a first edition while 3 4 5 6 7 8 9 10 would represent a third);
• Some publishers use a series of coded letters on the copyright page to indicate the month and year when an issue was printed. In old Harper & Brothers books, a code of B-P would indicate a printing in February 1915.

Extensive guidebooks are available that list many different publishers and the varying ways they have changed their first edition markings over time. But there are exceptions to all the rules, and some publishers do not use any markings at all to identify their editions.

Copyright and Published Dates—A copyright date is not a published date. A copyright date only indicates the first appearance of a work and could be 50 years older than the actual book.

Some books print both a copyright year and a published date. It is usually possible to identify a first edition if the copyright year and the published year are the same; but not always. (The first edition of Gone with the Wind was published in May 1936. Only 10,000 copies were printed but the book was so popular that a second printing was ordered right away, in June, and several subsequent printings also occurred in 1936. Thus, a September 1936 edition of this book is not a first edition, even though the copyright year is also 1936).

Title History—Knowing a book’s original publisher and original publishing date can go a long way toward edition identification. Many popular titles were reprinted over and over, by scores of different publishers.

George Orwell’s Nineteen Eighty-Four was first published in 1949, but a book with this date is not the first edition unless it was published by London’s Secker and Warburg (The Harcourt, Brace and Company version printed later in 1949 was the first American edition).

To the uninformed, a version of Frankenstein with a published date of 1865 may seem like a good candidate for a first edition. It’s certainly a very old and valuable book, but it’s not anywhere close to being a first printing. Frankenstein was first published anonymously in 1818. Author Mary Shelley’s name appeared on the second edition in 1823. Editions of this book were also published in 1831, 1833, 1849 and 1856.

The first illustrated edition of Frankenstein did not appear until 1831. This is the first artist interpretation of the monster.

Points—Many popular books experienced multiple printings in quick succession by the same publisher. But in some cases, meticulous researchers have documented peculiarities that can identify the edition number. These include typos, changes in text or illustrations, binding variants, dust jacket styles, changes in price and the like. The text for the first printing of L. Frank Baum’s The Road to Oz in 1909 was printed on pastel tinted paper, with the color changing every 32 pages (off white, lavender, gray, light blue, salmon, tan and light green). The technique proved to be far too expensive and labor-intensive so was discontinued with subsequent editions.

Common identification points usually include advertising—in the back of the book, on the back of the dust jacket and on the dust jacket flaps. For many old juvenile series books, this is a key source for identifying first editions and is not possible without the dust jacket present.

Sometimes as many as four editions of a vintage juvenile series book were printed in the same year, before the next new title was released. Therefore, the common practice of assuming that a series book is a first edition if the advertising list of previous titles stops with that book (often referred to as “lists to self”) is highly unreliable.

The Bungalow Mystery dust jacket can only be identified as a 1930 first edition with the following points: The back of the dust jacket advertises only the first 10 Amy Bell Marlowe Books for Girls; The inside front flap advertises only the first three Nancy Drew titles; and the inside back flap advertises only the first 10 Beverly Gray titles.

Book Club Editions—A book club edition might have the markings of a first edition because it was printed from the same plates. But it is not. Without a dust jacket, it is often difficult to recognize a book club edition. The book might have an embossed marking on the back and might be made of lesser quality paper, but not necessarily. However, a book club dust jacket will not have a price (and might even state “Book Club Edition” in the lower corner of the front flap). Beware of popular books passed off as first editions that do not have dust jackets (or have price-clipped dust jackets).

So how can a casual buyer be cautious and informed? First edition identification is not specific and never easy. Here are a few tips:

Know Your Seller—Reputable book dealers will have done the necessary research to correctly identify a first edition. Does the seller have a store or website? Does the seller publish a book catalog? Is he a member of the Antiquarian Booksellers Association?

If you’re still not sure . . .

Ask a Worthologist—WorthPoint’s experts understand the points and research materials necessary to identify a book’s true age. A Worthologist can safely authenticate a book for you before you buy. It’s just as important to know when a book is NOT a first edition—and that is usually easy to determine.

Liz Holderman is a Worthologist who specializes in collectible books.

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There are many different terms to describe the various illustrations that may be contained in a book. The type of illustrations in a book can help determine the book’s age. And, many types of illustrations do increase the value of a book.

Plate – A page printed separately from the rest of the book. Usually this is an illustration or a diagram.

Dancing with the devil. A tipped in color plate by Arthur Rackham for The Ingoldsby Legends, 1920. The illustration is lightly affixed to the background cardstock at the very top edge. The cardstock itself is glued into the book along its inner left edge. This book also contains tissue guards that protect each illustration.

Tipped In – An illustration that is lightly attached to the book by a narrow strip of gum or glue. This happens after the book has been bound, so the illustration is not sewn in with the rest of the pages. Usually, a stand-alone illustration is expertly “tipped in” along the inner edge, between two pages of the book. The illustration will align perfectly with the rest of the pages and will not be numbered. Sometimes, the illustration is attached by one edge to a heavier cardstock (which itself has been tipped in to the book).

Because “tipping in” was a laborious, manual process, it increases the value of a vintage book. But as the book (and adhesive) age, the tipped in plates can become loose. Therefore, older books are often missing some of their illustrative plates, particularly the frontispiece (because it received more handling and wear as the book was opened).

Tissues or Tissue Guards – Tissue paper or other lightweight paper tipped in to a book directly opposite an illustration. These were originally designed to absorb any transfer of ink from the illustration to the page. Later they were used to protect the illustration from scratching. The presence of original tissue guards also adds value to an old book, because they were often lost or torn out. They are rarely used today except in more expensive, limited editions.

Black and white woodcut of Little Red Riding Hood by Gustave Doré for “Perrault’s Fairy Tales,” 1883.

Color woodcut by Randolph Caldecott for “Elegy on a Mad Dog,” 1879. Color woodcut illustrations were made by using a different block of wood for each color. The color alignment had to be perfect since multiple passes were made through the presses for each illustration. Therefore, the detail in the illustrations had to be much simpler.

Woodcut – Illustrations made by engraving a block of wood and then inking the block for transferring the image to paper. This is the oldest form of printing illustrations and its use dates to 600 AD.

Chromolithograph illustration from Aunt Louisa’s Golden Gift, 1879.

 

Chromolithograph – An illustration made by using grease crayons, paints, gums and acids on flat stones or zinc plates for transferring the image to paper. The illustrations were distinguished by bright and vibrant colors but chromolithography was a time-consuming process. It became obsolete in the early 1900s when faster printing techniques were perfected.

Photogravure of Victor Hugo, 1883.

Photogravure – High-grade illustrations made from metal plates into which a photograph has been etched.

Halftone – Graduations in light and dark shades created by using tiny, closely spaced dots.

Illuminated – Illustrations and manuscripts decorated by hand using gold or silver leaf or metallic paints.

Glossy – An illustration printed on smooth, coated paper. Because glossy illustrations had to be tipped in, they were sometimes replaced in later editions with line drawings that could be included as part of the print run. An edition of a juvenile series book with a glossy illustration, for example, would be older than the same title with a plain illustration.

Internal – A term sometimes used to describe a glossy illustration inside a book. It is most often used when describing juvenile series books, which can be dated by the number of “internals” they contain. Over time, the printing of juvenile series books was made less expensive by reducing the number and quality of the illustrations.

Liz Holderman is a Worthologist who specializes in collectible books.

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Condition terminology is important to master, because condition and rarity are the most significant aspects for evaluating a book’s worth. Determining and describing condition, however, is always subjective and open to interpretation.

This is an example of a paste-on illustration in fine condition for the cover of “The Family Friend,” 1878. No scratches, fading or wear. Bright and crisp.

Fine Condition – A crisp and tight book or dust jacket with no dullness or defects. Sharp corners and edges. Near new.

Very Good Condition – A sound, firm book or dust jacket with light wear and no major defects. Corners and edges only slightly bumped and never frayed. Covers fresh and clean. Usually, books in less than very good condition drop greatly in value.

Good Condition – A complete book or dust jacket with average but obvious use and wear. Usually beginning to soften and often with minor markings or fading. This is the lowest grade given to a collectible copy and is really not considered “good.”

Fair Condition (Reading Copy) – A loose book or dust jacket that is very worn, torn, frayed or soiled, with some of its parts missing (such as the spine backstrip, title page or internal illustrations).

An example of a book in poor condition, sometimes called a breaking copy. Covers, title page and spine are missing. Pages are loose, marked and torn.

Breaking Copy – A book (usually with color plates) that is in such poor condition it can only be considered for breaking apart in order to collect the internal art.

Sunned – The aspect of a book’s cover (usually the spine) which has faded due to long-term exposure to sunlight or other light sources.

Price-Clipped – A dust jacket that has had the corner price excised or cut away. This lowers the value of a dust jacket and sometimes even means that the words “Book Club Edition” have been cut away.

War Paper – Lesser-quality paper often used for books produced during the paper shortages of World War II. It now appears brown and brittle.

Wormholes – Burrowing holes made in paper or bindings by maggots or bookworms.

Foxing – Brownish spots on the paper of old books that are usually caused by dampness or impurities.

Starting – A book that is beginning to show signs of looseness.

Shaken – A loose book that is not firm in its hinges.

Loose – A book with detached or nearly detached covers.

Bumped – Worn and softened binding edges or corners.

Frayed – Ragged binding edges or corners, with cloth threads showing.

Rubbed – Worn spots on bindings or dust jackets that show color loss, usually caused by excessive shelf wear.

Dog-Eared – Pages that are turned down at the corners – a poor man’s bookmark.

Closed Tear – A simple tear that does not involve loss of paper.

Open Tear – A tear (or hole) that involves loss of paper or material.

Facsimile – An exact copy of an earlier work, usually produced by photographing or scanning the original.

Reproduction – An approximate likeness of an earlier work, made to look like the original.

Sticker Damage – Paper loss or discoloration due to the rough removal of a price sticker.

Laser Copy – A dust jacket that is made by scanning the original and printing it on a laser printer. Stiffer paper and slight defects (such as tears) that are seen but not felt can be used to identify these copies.

Marriage – A combination of dust jacket and book that does not represent the original state. For example, a second edition dust jacket might be combined with a first edition book.

Dimple – A small defect made by an indention on a cover or page.

Damp-Stained – A book or dust jacket with a stain left by exposure to water or moisture. These books are often also warped.

Smoke-Free – A book that has been housed in a smoke-free environment. Books can retain an odor from long-term exposure to cigarette smoke. (Smoke odor can be removed by wrapping a book in newspaper and burying it in new, clean kitty litter for several weeks.)

Liz Holderman is a Worthologist who specializes in collectible books

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Many do not realize that the pages before and after the narration are very important, even if they just show advertising. They can sometimes help identify the issue or date of a book, especially one that was produced by many different publishers. A book is always worth less if these pages are missing.

Title Page – A page in the front of the book that states the author, publisher, illustrator and sometimes the date of publication.

Copyright Date – This is the date that the work first appeared (when the protective copyright was established) and does not date the book in hand. The work may have appeared in a magazine or newspaper prior to book publication, or in other previous book publications. The copyright page usually appears on the reverse side of the title page.

Edges – The three outer edges of the pages, as visible when the book is closed (top, fore and bottom). The edges might be gilded or marbled. In specialized books, the fore-edge was sometimes painted with a scene that only could be viewed when the pages were slightly fanned. Edges might also be Unopened, which means the folded leaves have not been cut apart in the finishing process (and the book cannot be read). Confusingly, Uncut or Deckle edges have been cut apart but have not been trimmed and therefore appear rough.

Recto – The front side of a page. If a book is lying open, this is the page on the right.

Verso – The back (or reverse) side of a page.

Errata and Addenda Slips – Pages inserted after a book has been printed to identify mistakes or additions.

Frontispiece for Nancy Drew #14, “The Whispering Statue.” A slick, glossy illustration was used in editions between 1937 and 1943.

Frontispiece for Nancy Drew #14, “The Whispering Statue.” A line drawing of the same scene was used in editions between 1943 and 1970. The type of frontispiece helps date vintage juvenile serial books.

Frontispiece – An illustration facing the title page.

Fly-Leaf – A blank page that appears after the front free endpaper. In earlier days, when paper was scarce, these pages would sometimes be torn out of books to be used elsewhere.

Watermark – An image in the page that can be seen when held to light. In simplified terms, it is created by a wire mold that is part of the tray where the wet pulp settles during papermaking. The mold causes a difference in the thickness of the paper.

Points – Peculiarities or indicators whose presence or absence can help determine the edition or state of a book. These might include typographical errors that were later corrected; changes in illustrations, lettering or chapter headings; specific advertising, etc.

Colophon – A formal note at the end of a book, sometimes with identifying symbols, which might reveal the printer and printing date, as well as other miscellaneous information. An older device, this is usually on the last page or even the endpaper and is generally not found in modern books.

Liz Holderman is a Worthologist who specializes in collectible books

WorthPoint—Discover Your Hidden Wealth

Some of the most perplexing descriptions include the various editions and copies of a book. Even antiquarian book scholars and dealers do not always agree on the specifics of these terms, so the following is offered as a very simplified guide:

Edition – All the copies of a book printed in the same run from one typeset (electronic or otherwise). Sometimes later printings of the book made from the exact, unchanged typeset are numbered as different Impressions or Printings of the same edition.

Illustration opposite page 34 for the first edition of The Wonderful Wizard of Oz, 1900. The two dark blue dots on the moon are one indication of the first state of this book. The dots were removed in the second state.

First Edition – The first printing of a book from the original typeset. Some works were first printed in a magazine or newspaper and then later issued in book form. Thus, a first printing or first publication of Edgar Allan Poe’s “The Raven” would be the copy that appeared in The New York Evening Mirror in January, 1845. The first book edition was published later that same year.

First Edition Thus – This is not a first edition, but is the first appearance of an edition in a new format, with a new illustrator or by a new publisher.

State – If minor corrections, changes or typeset repairs are made during a single print run, the variations are referred to as different states of the same edition. For this term to be exact, all the copies from that run must be released for sale at the same time.

First edition dust jackets for Nineteen Eighty-Four, 1949, in both the red and the green variants.

Variant – This usually refers to different versions of the binding or dust jacket within the same edition. It is a variation that is consciously made by the publisher with no regard to priority.

Book Club Edition – An edition published by a book club, often from the original publisher’s typeset.

Association Copy – This is a book that falls into one of the following categories:

a. It once belonged to the author or illustrator and perhaps contains their personal library bookplate or critical notes and edits in their hand.
b. It once belonged to someone associated with the author or illustrator. This might be a relative or a famous friend and the book often contains an inscription to that person.
c. It once belonged to someone who is mentioned in the book or is associated with the contents of the book.

Limited Edition of the complete writings of Henry David Thoreau in 20 volumes, 1906. Green crushed Levant morocco over marbled boards. With profuse illustrations, a foldout map of Concord and a foldout manuscript of “Life without Principle.” Limited to 600 sets.

Limited Edition – A single edition limited to a specific number of copies, usually in a very specialized format. Sometimes signed and numbered by the author or illustrator.

Advance Copy (or Advance Reading Copy) – Publishers often send a few copies of a new book to reviewers, publicists and wholesalers prior to its publication. These copies are usually proofs issued in paperback format (with plain wrappers) and could still contain manuscript errors. Advance copies have been in effect for about 100 years. They are early versions and scarce, but they are not first editions.

Ex-Library – A term used for a book that has been in a library, with the associated inferior binding, printed labels and painted shelf numbers. Not to be confused with the term Ex-Libris, which only means that the book contains an owner’s bookplate.

Liz Holderman is a Worthologist who specializes in antique and collectible books.

WorthPoint—Discover Your Hidden Wealth

The first thing that a buyer notices about a book is its binding, which consists of the front and back boards (covers) as well as the spine. The binding is sometimes called a casing, and while there are technical differences between the two words, they are often used interchangeably. There are literally hundreds of terms that can describe binding materials and decorations. A few of the most common are explained here:

Cloth Bound – Since the middle 1800s, this has been the most common material used for covering a hard-back binding. This term should not be confused with soft, all-linen children’s books that are often referred to as cloth.

Quarter Bound – A book in which the spine is covered in leather while the rest of the book is covered in cloth or paper.

Half Bound – A book in which the spine and outer corners are covered in leather, while the rest of the sides are covered in cloth or paper.

Beautiful illustrated endpapers for Kernel Cob and Little Miss Sweetclover by Tony Sarg, 1918. The paper on the left is pasted to the inside front cover. The paper on the right is free and acts as the first page of the book’s text, with a blank page on the reverse side.

Endpapers (sometimes called endleaves) – These are the papers that are glued to the insides of the covers. They are actually double pages (leaves), with one page (the pastedown or board paper) glued to the inside cover and the other page (the free endpaper) appearing as either the very first or the very last page in the book. Most endpapers are blank, but some are illustrated.

Vellum – Specially treated and softened calfskin, lambskin or goatskin.

Morocco – Hard leather made from goatskin and usually dyed in bold colors

Levant – A superior grade of Morocco leather, usually highly polished.

Wrappers – The binding of a paperback book. This term has nothing to do with dust jackets (which are sometimes confusingly called dust wrappers).

Tooled or Blocked – There are subtle differences in these two techniques, but each essentially means a book cover with impressed designs or lettering, often stamped in gold. The imprinted decoration is referred to as “blind” if no color has been added.

Gold-tooled decorated cover with three illustrated paste-ons.

Paste-on – A paper illustration or photograph that is glued to the front of a book as part of its cover decoraton.

Re-backed – A book which has been repaired with a new spine.

Re-cased – A book which has been removed from its loose covers and then re-sewn or re-glued in more firmly. Often, new endpapers have also been added.

A half bound book with marbled covers.

Marbled – An intricate design created by dipping paper in a glutinous wash and then swirling colors across the surface. Used for front covers, endpapers or even page edges.

Library Bindings – Inferior plain casings, usually holding cut-down pages, commissioned by public libraries to create smaller reading copies. These copies are never considered collectible.

Boxed (sometimes called Cased or Slip Cased) Bindings – This term refers to specially-made boxes created to enclose fragile books. A slip case box is open on one side and shows the spine of the book.

Liz Holderman is a Worthologist who specializes in antique and collectible books.

WorthPoint—Discover Your Hidden Wealth