Managing a Collection

QUESTIONS: I love collecting things and have been doing it a long time. But I now find I really don’t know exactly what I have. Can you give me some advice on how to manage my collections?

ANSWERS: Lots of people collect things, but unfortunately that’s where it stops. They love the act of collecting but do nothing to manage their collections. Collecting things can be addictive. And over time collections can become so large that people lose sight of what they actually have. To truly enjoy the entire collecting experience, it’s necessary to do three things—organize, document, and curate. 

Private collections often start with one or two items—perhaps a unique old lamp or an old crock. At first, a person will treasure a few objects and know their every feature. But as the objects multiply, they’ll forget where they found an object or anything about it.

The first step in managing a collection is to organize it. This can be as simple as displaying the objects in an attractive way or in groups by subject matter. If the objects aren’t placed on view, neither the collector nor his or her family and friends will get to enjoy them. Some people purchase expensive display cabinets for to hold their collections. Those with glass doors are especially good for small to medium-sized delicate or fragile pieces or those that are more valuable. Larger objects may have to be displayed on open shelves or in other ways. It’s important to allow room for the collection to grow. If most of the collection cannot be displayed, then it may be time to stop. Some collectors rotate their collections, so they can enjoy different pieces.

It’s also a good idea to display smaller groups of objects together in different locations within a home. Viewers can be overwhelmed if an entire collection appears together.

The next step in managing a collection is to document it. Taking an inventory of a collection is imperative for several reasons. A collector needs to know what’s in his or her collection, as well as the relative value of each piece. While this will increase or decrease over time, it’s good to have a general idea what a piece is worth.

Cataloguing a collection can record the details about each piece, document the artifacts for insurance, and form a framework to keep similar objects together. It’s also important to know where an object came from.

Some types of documents may already be available, or can be easily acquired, such as sales receipts, a note accompanying a gift, a snapshot, a printed description, a program from an exhibit, biographical information on the artist or maker, a description and picture of a similar object perhaps from a newspaper, magazine, or the Internet, and a copy of a mark on the object. 

If an object has been passed down within a family, then its family history should be noted—who first purchased it, who owned it and when. The objects in specialized  collections— furniture, dolls, quilts, kitchen utensils, guns, tools, even sports and music memorabilia—are prime candidates for documentation. Documentation is important for  insurance, family heritage, preparing for appraisal, certain types of tax benefits, and connoisseurship.

In case of theft, loss or damage by fire, flood or national disasters, you need to prove ownership of any object claimed, and provide descriptions with supporting information in order to be compensated or to help the police identify and recover your stolen valuables. 

There are three ways to catalogue your collections. All of them are rather simple. The first uses standard 3 x 5 or 5 x 8-inch cards and a notebook, or logbook. Another uses a three-ring binder with dividers for those who wish to keep all the information under one cover. The third way is to create a computer database. Some collectors record the information about each object on cards first, then transfer it to a database later. 

To keep everything in order, each object must be given a sequential number, beginning with the earliest to the most recently purchased. This number should appear on the object, on the card or in the logbook, and on every receipt, canceled check, and photograph that relates to it.

Although simple numbers will do, a three-part number is more useful because it includes the year the object was acquired and the source. Individual items purchased at the same time from the same source will thus each have this number.

Curating a collection is just as important as collecting the objects in it. Everyone knows museums have curators, but do they know why? While organization and documentation are important jobs of a curator, taking care of objects in a collection is just as necessary. This may be as simple as dusting the objects from time to time. But sometime it’s necessary to repair or restore an object because of breakage or environmental hazards like humidity. 

Thoughtfully arranging a collection is also part of a curator’s job. A collector can assemble a mini-exhibit based on a theme and invite family and friends to view it. Protecting objects in a collection from harm is another job of a curator. And once a collection gets large enough, it’s the curator’s job to refine it, culling out earlier not-so-good pieces and selling them to replace them with better ones.

And last but not least, it’s important for a collector to learn all he or she can about the objects in their collection, not just what they already know but additional information about objects in that category. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Ancients" in the 2021 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Insurance and Antiques

QUESTION: I’ve been collecting antiques and such for a number of years. Do I need extra insurance or will my homeowner’s policy cover what I have?

ANSWER: As a collector, you’ll want to take care to see that your treasures are adequately insured. And even if you have coverage, you may find that coverage you purchased several years ago leaves you financially vulnerable today.

Most collectors use one of three types of insurance—that found in a standard homeowner's policy, special endorsements to that policy, or a "floater" policy for valuables such as art and antiques.

The policy that covers your home includes insurance for your personal property as well as the structure it's housed in, usually at 50 percent of the amount of coverage for the dwelling. This means that if you have insured your house for $150,000, your belongings are protected for up to $75,000.

Is this amount sufficient for your collection as well as all your other belongings? That all depends on what your collection contains. If you have a small collection of "collectibles" or less expensive items, the coverage in your homeowner's policy is probably enough. But keep in mind that standard policies usually fix limits on certain types of items such as currency, documents, silver, and jewelry. You should read your policy carefully to see if these limitations affect your collection.

The coverage in homeowner's policies is "unscheduled," that is, it groups all of your goods together rather than listing and valuing them separately. Should a theft or fire occur, it’s your responsibility to prove ownership and the value of the items in your collection. The insurance company will then calculate your losses on the "actual cash value" of those items, figuring in depreciation. If you collect anything other than certifiable antiques, complications can arise over the settlement.

Your insurance company may deem "old and worthless" items you consider “vintage.” So you should keep receipts and other records, especially for less expensive "collectibles" and offbeat items—be sure to print out receipts for anything you purchase at online auction sites. Though claims adjusters are usually on target, any documentation will help —the more the better.

Even if you decide to work within the limits of your standard homeowner policy, you may find that increased coverage is necessary. While that $75,000 may sound like a lot of insurance, you’d be surprised how quickly the normal, everyday contents of a house add up, leaving only partial coverage of your losses.

To remedy this problem, most policies offer the option of a special "endorsement" which allows for a higher percentage of personal property coverage for an additional fee. If you have a collection of any size or value, you’ll probably want to take inventory of your home's entire contents to see whether you should purchase such an endorsement.

Finally, you can also purchase a separate policy to cover valuables such as art, antiques, silver, and the like. And in this case, silver means Sterling, not plate. These policies, known generally as "floaters," cover "scheduled," or listed, items. Each item is listed separately with its own value, usually by means of a written professional appraisal. Those cheap or free online appraisals just won’t do. The benefits of floaters are that each items is covered for its full replacement value because ownership and value are  pre-established, In addition, most floaters will protect the collection against loss as well as theft, a benefit not available through most homeowner's policies.



The cost of such a floater will of course depend on where you live and what you’re insuring. Very portable items of recognizable value command the highest rates. For instance, the amount for jewelry is always higher than for artwork. Prices may also be lower if you store your collection—or part of it—in a safe or safety deposit box, or if your home has a security alarm system. If your collection is worth more than $50,000, your insurance company will probably insist that you install such a system.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about  La Belle Epoque in the 2020 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Mementos of Faith

QUESTION: I was browsing at a local flea market this past weekend and came upon a strange object. It seems to be some sort of wand. It has a turned wooden handle at the end of which is a round metal ball with tiny holes in it. The dealer said she picked it up at a church sale, so I bought it out of curiosity. Can you please tell me what this is and how it might have been used?

ANSWER: You are now the proud owner of an aspergillum or holy water wand, used by priests in Catholic and Anglican churches.

The priest uses an aspergillum to sprinkle holy water. It comes in two common forms—a brush that the priest dips in an aspersorium or bucket of holy water and shakes, and a silver ball with tiny holes attached to a stick.

Priests use an aspergillum for the Rite of Baptism and during the Easter Season. In addition, priests use an aspergillum to bless the candles during candlemas services and the palms during Palm Sunday Mass. At a requiem, if a coffin is present, the priest will sprinkle holy water on it. The aspergillum can also be used when blessing other things like houses, pets, crops, and such. The name derives from the Latin verb aspergere “to sprinkle.”

Ecclesiastical collectors search antique shops, flea markets and church rummage sales in the hopes of finding objects and furniture used in mostly Christian religious practices. Examples of monastic art, the delicate needlework of cloistered nuns, painted icons, carved candleholders, prayer beads and baptismal fonts originally intended for Christian houses of prayer often command astronomic prices from knowledgeable antique dealers. Cups, bowls, dishes, altar linens and the ceremonial vestments provided the finest examples of craftsmanship and art work.

But, what became of the thousands of beautifully wrought religious utensils, garments and symbols made obsolete by the sweeping changes in Catholic Church policies and the closures of Catholic churches beginning in the 1960s?

Back then, no one wanted the larger-than-life statues, banners appliqued with obscure religious symbols, heavy marble holy water fonts, old-fashioned altar pieces and paintings that graphically depicted the tortured deaths of religious martyrs? Since these weren’t quick moving commodities or even investment items for antique dealers, church basements, rectory attics, and parochial school storage areas began to bulge with hand-turned altar railings, huge sanctuary lamps, ornate metal reliquaries and the delicately carved doors of closet-sized confessionals.

Gradually, these outmoded, unwanted and useless items trickled away. Well-intentioned volunteer groups hauled much of this detritus back into the light of day and offered it at fund-raising events such as church rummage sales. When it became necessary to raze a church, the church hierarchy offered old stained glass windows and exquisite, glass door inserts to local antique dealers on a "make-an-offer" basis. Salvage companies carted off the carved lions, fancy wooden fretwork and the masonry arches from above church doors.

Starting in the late 1980s, interior decorators began to incorporate religious artifacts into the interiors of up-scale homes. This trend propelled discarded church surplus into the realm of high style. Pieces now command huge prices at architectural warehouses. Consider the wild popularity of angel items, for example.

Candleholders for weddings and christenings, long pine pews, processional crosses mounted on oak poles and even altars are showing up at large flea markets. Since most churches use flowers during the year for religious services, collectors can find all types of large altar containers and floor vases. Bibles, candleholders, altar linens and crosses of every size and material, as well as religious utensils, such as cut crystal cruets, used by altar servers to present the water and unconsecrated wine to the priest and easily identified by the incised crosses, wheat sheaves and grape cluster motif.

People buy religious items for three reasons. First, they might purchase a chalice because of its artistic beauty. Second, they want it because it evokes an emotional response from their childhood, a time when the family attended Sunday services. And third, some people collect Christian religious items with much the same interest that African cultural memorabilia collectors buy tribal masks. They don’t use the masks, but enjoy displaying them, researching them, and using them as unique decorations.

And don’t think religious objects appear for sale only in the U.S. Flea market vendors, especially in Mexico City, often have beautiful old vestments on display, as well as santos, carved wooden figures of saints. A small but unique item is the nicho, a three dimensional, recessed shadow box, dating back to the Spanish colonial period. Traditionally, people used nichos as portable shrines for patron saints or pictures of loved ones. The faithful often carry these with them when going door to door in their village asking for donations for the church.

Another item, often found hanging on the wall of a side chapel in a Mexican church, is the retablo. These paintings on tin depict a loved one who is sick or dying. Hanging their image in the church is a way of asking people to pray for them. Other retablos are beautifully handpainted testimonies of faith of the people of a particular Mexican village.

Religious objects mean different things to different people. Many mundane religious items retain value because many ceremonial practices have been eliminated from worship and therefore the elaborate trappings and religious utensils won’t be produced in the future.

tin plate frames, or nichos. These 3-d, recessed shadow boxes date back to the Spanish colonial period. Traditionally nichos were used as portable shrines for patron saints or pictures of loved ones. Frescos on tin depicting the 12 apostles, most likely from an altarpiece.

For more on collecting religious objects, read my previous blog on collecting old Bibles, "The Most Printed Book of All Time."

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 17,000 readers by following my free online magazine, #TheAntiquesAlmanac.

Ooolala...Art Deco French Style

QUESTION: I have a pair of upholstered arm chairs that originally belonged to my great grandmother and were passed to my grandmother and then to me. They have an unusual shape. Can you tell me anything about them?

ANSWER: Your chairs seem to be classic French Art Deco, dating from the late teens to mid 1920s of the last century.

The term Art Deco, actually coined in 1966, refers to a design style that originated around World War I and ran through World War II. It’s epitomized by the works shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern and Industrial Decorative Arts), held in Paris in 1925. Indeed, the name of this vast exhibition would later be abbreviated to Art Deco, giving a catch-all and rather imprecise label to an enormous range of decorative arts and architecture.

Most people associate Art Deco with the mechanized, metalicized objects that appeared in the U.S. in the 1930s. Like haute couteur fashion, this high style was more popular with the wealthy and avant garde than with the average person, mostly because this group had more education and its tastes ran to fine art and design.

Developed by a group of French architects and interior designers who banded together to form the Societe des Artistes Decorateurs, the Art Deco style incorporated elements of style from diverse artworks and current fashion trends. Influence from Cubism and Surrealism, Egyptian and African folk art are evident in the lines and embellishments, and Asian influences contributed symbolism, grace and detail.

Disillusioned by the commercial failure of Art Nouveau and concerned by competitive advances in design and manufacturing made by Austria and Germany in the early years of the 20th century, French designers recognized that they could rejuvenate a failing industry by reestablishing their traditional role as international leaders in the luxury trades, a position they once held during the 18th century. The founding in 1900 of the Société marked the first official encouragement of new standards for French design and production through annual exhibitions of its members’ works.

In 1912, the French government voted to sponsor an international exhibition of decorative arts to promote French pre-eminence in the design field. The exhibition, originally scheduled for 1915, had to be postponed because of World War I and didn’t take place until 1925. If the exhibition had taken place as scheduled, the sophisticated style of Art Deco probably wouldn’t have evolved.

The Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris was a vast state-sponsored fair that dazzled more than 16 million visitors during its seven-month run. The works exhibited—everything from architecture and interior design to jewelry and perfumes—were intended to promote and proclaim French supremacy in the production of luxury goods. The primary requirement for inclusion was that all works had to be thoroughly modern, no copying of historical styles of the past would be permitted.

But creating from scratch isn’t something that occurs in the arts. All art—painting, sculpture, writing, music, theater—evolves from what’s been done before in some way. So many of the objects exhibited had their roots in the traditions of the past. The stylistic unity of exhibits indicates that Art Deco was already an internationally mature style by 1925—it was just getting started before World War I but had peaked by the time of the fair. The enormous commercial success of Art Deco ensured that designers and manufacturers throughout Europe continued to promote this style until well into the 1930s.

In France, Art Deco combined the quality and luxury of the French furniture tradition with the good taste of Classicism and the exoticism of distant, pre-industrial lands and cultures. Many designers used sumptuous, expensive materials like exotic hardwoods, lacquer, ivory and shagreen in order to update traditional forms like armchairs, dressing tables and screens. Motifs like Meso-American ziggurats, Chinese fretwork, and African textile patterns offered a new visual vocabulary for designers to play with in order to create fresh, modern work.

Early Art Deco furniture introduced sleek, rounded corners, and futuristic styling. Seating often curved slightly inward, suggesting intimacy and sensuousness. Geometric designs and patterns often provided a counterpoint to the soft rounded lines of classic Art Deco furniture. Designers often incorporated fan motifs using layered triangles, and circular designs were common.

The concept behind French Art Deco furniture was one of luxury and comfort using rich wood and textural elements. Finishes were shiny or glossy. Wood was heavily lacquered or enameled and polished to a high sheen.

Fabric choices enhanced the feeling of luxury and opulence in Art Deco furniture. Designers used bold geometric, animal or exaggerated floral prints in soft, sumptuous materials to contrast and compliment the sleek styling.

French Art Deco reflected the general optimism and carefree mood that swept Europe following World War I. Sunbursts and chevrons represented hope and prosperity. They also employed vivid colors in paint and upholstery. Both furniture and textiles tended to use decorative designs that exhibited a strong painterly quality reminiscent of Impressionist, and post-Impressionist, Fauve, and Cubist techniques.

Sometimes ornamentation was straightforwardly applied to the surface of an object, like a decorative skin. At other times, potentially utilitarian designs—bowls, plates, vases, even furniture—were in and of themselves purely ornamental, not intended for practical use but rather conceived for their decorative value alone, exploiting the singular beauty of form or material.

After the 1925 Paris Exposition, American designers began working in the Art Deco style in the U.S. For American audiences, however, there was less of an emphasis on luxury and exclusivity and more interest in mass-production, accessibility and the machine age. The modern influences heralded a bright and shining future outlook that found its way to architecture, jewelry, automobile design and even extended to ordinary things such as refrigerators and even trash cans.

Taming Your Collecting Passion

QUESTION: I love to collect things. But my passion for collecting seems to be getting out of hand. How can I control this? And how can I judge whether certain items are worth collecting?

ANSWER: You’ve obviously been bitten hard by the collecting bug. With the advent of eBay and the Antiques Roadshow, everyone has the idea that everything is worth something. And if something is old, it must certainly be worth a lot. If you believe this, then you’re wrong on both counts.

The first question you need to ask yourself is “Why do you collect things?” Is it for their intrinsic or monetary value, is it for the pleasure they give you, or is it for some vague idea of self-worth?

Asking avid collectors why they do what they do is like asking, "Why do you breathe?" They might reply that something about human behavior wants—or is fated—to gather and accumulate, to crave and classify, to seek out and hoard. Passion plays a part in many serious collectors' pursuits, as does, many admit, the thrill of the hunt.

This can be true even, or perhaps especially, when time is long between looking, finding and acquiring. The rarer an object of desire, the less frequent or instant the gratification of its discovery; for some determined collectors, though, pleasure resides in the long, unpredictable search for a coveted item. Inexplicably, it may also dissolve when it leads to a find.

For many people, collecting is a way of getting in touch with a past era, even if they didn't live through that particular period themselves. Some enjoy owning objects from what they may imagine was a simpler, less stressful age. Or they may have a strong nostalgic or family connection to a certain period and place.

Some people collect with investment value in mind, others to develop an informed knowledge of a our material  culture. Either way, passion plays a part in many serious collectors' pursuits, as does the thrill of the hunt. Identifying personally with the objects one admires can also feed the collecting impulse.

Some collectors embrace—and celebrate—their magnificent obsessions; like entertainers, they enjoy displaying what they have amassed and sharing their enthusiasm with friends. Conversely, to be sure, many a treasured collection is a private, secretive affair.

Collecting has broaden in scope over the decades. It used to be that antiques included only decorative objects and furnishings. Today, anything 100 years old or older is considered an antique. Anything newer a collectible. And while some antiques may be considered collectibles, not all collectibles are antiques. Take typewriters, for instance. The oldest ones are antiques but newer ones from the late 20th century are technically collectibles.

What's old is new in the evermore-diverse collectibles market, and as long as someone, somewhere values something enough to acquire it and stimulate trading in its field, it can become a common practice to do so. Thus, along with such old favorites as stamps and coins, items like Barbie dolls, tea tins, and buttons, in fact, just about everything can be deemed a collectible.

So where do you draw the line.  The first rule of collecting is collect what you like.  The second rule is to be knowledgeable about your collection. The third rule is buy low and sell high.

Understand why you’re collecting what you do. What got you started? Have you kept up with your collection or has it run its course? If your collection is languishing, then perhaps you’ve lost interest. Life changes. You change.

Do you know a lot about what you collect? Have you studied up on the history of the objects? Do you know the makers and the marks? Do you know the last word on the subject? Have you kept up with the market value?

Too many people get caught up in the entertainment value of auction sites like eBay. For some it’s like playing poker. They even get to “win.” Many pay far more than an object is worth just because they want to be the winner. If you’re a true collector, you’ll not even bid on an item unless you know you can get it for a good deal below market value. And that means you have to know what it’s worth before you bid.

Do you just collect things or do you keep an inventory of your collection? To understand the true value of your collection, you need to know when and where you purchased each piece, how much you paid and how much it’s worth now. You may even want to photograph each item as a record for insurance purposes.

Of course, as any collector knows, there’s a price to pay. Thus, beginners and seasoned veterans alike usually pursue their collecting passion at some cost. No matter what your field is, there's something all of us inevitably collect and unless you pick the pieces off the junk pile, you’ll have to pay for them.
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Organizing Your Collections

QUESTIONS: I love collecting things and have been doing it a long time. But I now find I really don’t know exactly what I have. Can you give me some advice on how to organize my collections?

ANSWERS: Collecting things can be addictive. And over time your collections may become so large that you lose sight of what you actually have. Organizing your collections is important if you’re to truly enjoy them.

Private collections often start with one or two items—perhaps a striking old photograph or an old vase. You treasure a few objects and know their every feature by heart. As the objects multiply, however, you’ll  forget where you found an object or what its history was. Cataloging of your collection can record those details, document the artifacts for insurance, and form a framework to keep similar objects together.

Collectors have a common need to know what they have and where they got it.

There are three ways to catalog your collections. All of them are rather simple. The first uses
standard 3 x 5 or 5 x 8-inch cards and a notebook, or logbook. Another uses a three-ring binder with dividers if you prefer to keep all the information under one cover. In either case, no special materials are needed; cards, notebooks, and binders are available at any office-supply or stationery store.

The third way is to create a computer database. You can begin by using the cards you prepared above, then transferring the information to a database later.

The first step in any classification system is a catalog number, which will appear on the artifact, in the logbook, and on every receipt, canceled check, photograph, or card that relates to it. The number is the essential link between your records and the item.

The objects in your collection should be numbered in sequence in the order in which you acquired them. Although simple numbers will serve, a three-part number is more useful because it includes the year the object was acquired and the source. Individual items purchased at the same time from the same source will thus each have this number.

It’s a good idea to record the numbers consecutively in the logbook as soon as you assign them. Include in the entry basic information about the source, a brief description of the object, and the price paid for it. That information, along with the receipt or canceled check, can be used to document a claim if a part or all of the collection should be damaged or destroyed. The log should be stored in a safe place and updated regularly.

Next Week: More on organizing your collections.

Curator or Caretaker–Which are You?

QUESTION: I own a necklace of pure scrimshaw about 40 years old that was passed to my mother, and she gave it to me when she died. Can you tell me its value? 

ANSWER: Here’s a good example of an object that has been passed down from mother to daughter over several generations. But the person makes no mention of obtaining any more pieces of scrimshaw. Unfortunately, this often happens when people inherit an object or a collection from their relatives.

It seems that this person has taken over the job of acting caretaker for this piece of scrimshaw. While there’s nothing wrong in that, she’s missing out on the joy of collecting–the search for other pieces and buying the ones that she likes. But she shouldn’t feel bad. This is more often the case than not.

A caretaker, as the name suggests, cares for an object or a collection. This care usually consists of maintaining the condition of the object, and, of course, finding out how much the object is worth.

A curator, on the other hand, is someone who catalogs and maintains historic or artistic collections. This usually entails the maintenance of the objects and their general protection from damage. The curator also finds out as much as possible about the objects in the collection and, using a number of reliable resources, determines their value. In addition, the curator adds to the collection, refining it by selling off inferior pieces and arranging for the purchase of better ones. In essence, the curator becomes a collector.

So which are you–curator or caretaker? If you’ve been acting as a caretaker, why not change roles and actively get involved in learning all you can about and growing your inherited collection. You don’t know how much fun you’re missing.

Welcome to My Antiques Blog

Welcome to my blog about antiques and collectibles. I’ve been collecting them for nearly 30 years and writing about them for the last 16. In that time, I’ve covered the gamut from Chippendale to cookie jars, Renaissance Revival to ruby glass. Visitors to my antiques Web site,The Antiques Almanac, send me questions about all sorts of items–some they’ve inherited, some they’ve had for years, and some they’re considering purchasing. All these questions have two things in common: What are they, and how much are they worth?

In this blog, I hope to answer the first question about a variety of antiques and collectibles. In this modern age of multiple-use objects, we take for granted all the different little things our forefathers used in everyday life. I hope to shed some light on these.

The second question is a bit harder to answer. Generally, I don’t give valuations. I leave that up to professional antiques appraisers. The Antiques Roadshow has made everyone aware of the value of everything around them. But as I’ll show in this blog, just because something is old doesn’t make it valuable.

If you have a question about a particular item, please send it to me by E-mail.  Who knows, you may just see the answer in this blog one of these days.