Managing Your Collections

 

QUESTION: I’ve been collecting antiques and collectibles for the past 30 years. Now that I’m getting older, I’m looking to sell off some of my items but I have little information on items in my collections. What is the best way to document my collections?

ANSWER: Failing to document their collections is more common than you may think. Many people enjoy the fun of collecting antiques and collectibles but don’t take the time to manage their collections. And many seniors, seeking to downsize, all of a sudden want to sell some of their items. They often try in vain to get valuations for their items online. But without previously documenting their collections, this can be a challenge.

Those who are just starting collections should record a description and history of each item, as well as the date purchased and the price paid. Those managing their collections years after purchase may have a harder time of gathering information, but with today’s technology, it’s easier than ever. One thing they may not have is the date of purchase and price paid—two very important facts when determining current value.

Collecting is a personal thing and most people do it for sheer enjoyment. They choose some objects carefully to build or enhance their collections, acquire others to use everyday, and inherit still others. While collectors treasure each item in their collections, many don’t understand the appeal or the value of it. 

Over the last couple of decades, the value of some antiques has fallen while that of some collectibles has risen. What many collectors lack is a comprehensive record, with supporting documents, of objects they own. As antiques increase in value, it’s important to know their provenance. While most people don’t think of their prized objects as part of their tangible financial assets, the IRS, insurance companies, banks, and courts do.

"To document" means to create a record that thoroughly describes an object and which also contains related documents about it, and keep together this record and supporting information on each object. 

A collector may already have some types of documents or can easily acquire them, such as a bill of sale, 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, a copy of a mark on the object, and others.

The objects in specialized  collections— furniture, dolls, quilts, kitchen utensils, guns, tools, even sports and music memorabilia—are prime candidates for documentation. Museums document each object in their collections. So it’s only natural that collectors do the same for insurance purposes, family heritage, preparing for appraisal, tax benefits, and connoisseurship.

At the very least, a collector should know what he or she paid for each object in their collections. Some insurance companies require that jewelry and fine art be placed on a special schedule. Often they also require an appraisal for the most valuable pieces. 

In case of theft, loss or damage by fire, flood or national disasters, a collector needs 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 the stolen valuables. If a collector cannot do this, there’s a risk of losing compensation in addition to being permanently separated from the treasured object. The more adequate the proof is, the greater the chances that will be satisfying. It’s more difficult to document after a loss occurs, and perhaps it cannot be done at all.

Every home has objects of value—whether monetary, sentimental or family-related. Documenting can help people decide which objects they wish to give to certain heirs. Recording the provenance and capturing the family history associated with a particular object provides a more complete picture for both the collector and the heirs. 

If certain pieces have been handed down through the family, they may have family stories associated with them. It’s important not to depend on those stories being passed down verbally. They should be written down. Additionally, heirs often carelessly sell off family pieces or give them away because succeeding generations are unaware of their actual or sentimental value. This is often done in the haste to clear a house after a loved one’s death. Documenting can assure that certain pieces  remain in the family, or at least that someone will make an educated decision before selling or giving away a special object.

Insurance companies usually require that a collector or an heir provide them with a professional appraisal. However, not every object in your household needs to be appraised. Documenting can help decide which objects need to be appraised, plus it can also provide the appraiser with valuable information, thus saving time and reducing the cost of the appraisal. The appraisal then becomes part of the object’s documentation.

And If an object is sold or given to a museum or other institution, its documentation can provide detailed information from acquisition to sale or gift, providing a factual basis for tax benefits. Museums look upon documentation as a benefit, as it provides valuable family and cultural history about an object for its visitors. 

If not documentation exists, it’s important to begin with a simple search for it on the Internet. While it’s possible to get results using a simple keyword search, that may not reveal anything. An alternative would be to conduct an image search. Using the same keyword(s), click on the Images tab in the search page. This will result in photos of objects related to search words. Clicking on one or more that look like or similar to the object being researched will bring up the Web site associated with it. 

Patience is required when searching. It may take several different keywords to obtain any useful information. 

To get an idea about value, it’s possible to search for online antique auction sites and there search for an object using the same keyword(s). By searching several auctions for the sold prices, then averaging them, it’s possible to get an approximate current value for the object.

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 "In the Good Ole Summertime" in the 2024 Summer 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.

Collecting Antique Furniture for Beginners

 

QUESTION: I really admire the workmanship and beauty of antique furniture, but I live on a budget, so collecting it seems to be out of my reach. How can I start purchasing antique furniture to begin my collection?

ANSWER: Even though you’re on a budget, it’s still possible to buy some antiques. The place not to start is in antiques stores and shows. Instead, search out consignment and thrift shops for pieces from the late 19th to early 20th century. And since the legal definition of an antique is an object that is at least 100 years old, that means that furniture dating to the early 1920s falls within the antique realm.

Another place to search for pieces is in used furniture stores. While there are fewer of them today, it’s still possible to find one or two. Look for pieces that can be used or repurposed to fit into today’s lifestyle without changing them significantly.

If you’re a beginning collector interested in antique furniture, the old saying holds true: "Buy what you like and can live with, buy the very best you can afford, buy from reputable dealers with experience, and if you do all these things your investment will continue to appreciate."

Antique furniture covers a wide range of types, designs, historical periods and styles—American, English, Continental (German and French) and Asian. All have their following, and within each of these classifications are sub-classifications indicating both style and historical period. Practically, antique furniture can be considered as English, European, American, and Chinese.

Wood type-mahogany, walnut, oak and pin predominate—significantly affects value in antique furniture. The type of furniture, practicality, hardware and construction details are also important in determining value as is the originality of all the composite parts. Many pieces of antique furniture have replacement panels or have had hardware added due to breakage. This lowers the value of a piece considerably. Also, many owners of antique furniture use lemon oil under the misguided belief that it helps preserve the wood and therefore enhances its value. This can’t be farther from the truth. All lemon oil does is dry out the wood, darken the patina, and decrease a piece’s value. The only polish that should be used is pure beeswax. Before purchasing a piece of antique furniture, rub it to see if an oily film is left on your hand.

Begin by purchasing small pieces, gradually building up to larger more expensive—and thus more valuable—pieces as you expand your collection and your budget. While antique furniture made before 1830 should be purchased with its original patina. However, it’s acceptable to buy Victorian and later pieces with their finishes cleaned or restored. Some furniture styles, like Biedermeier from Austria, actually increase in value once they are restored.

But most antique furniture collectors don’t buy for investment potential alone. Most pieces can still be used, so buying a piece of furniture that will not only fit into your decor but will have some use adds to its enjoyment. And while a few collectors purchase furniture from a particular period, most mix styles and periods based on their personal interest. To help varied pieces fit better together in the same room, you should try to use similar wood tones.

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 "In the Good Ole Summertime" in the 2024 Summer 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.

Telling the Age of Glass

 QUESTION: I just started collecting antique glass. Unlike antique ceramics, most glass has no mark, so it’s really difficult to tell not only the maker but if it’s even old or not. How can I tell if a piece of older glass is, in fact, old? 

ANSWER: Identifying a piece of older glass is truly a challenge. Because most glass doesn’t have a maker’s mark, about the only way to tell anything about it is by studying its form and decoration. 

Of all the items for sale on the antique market, glass is probably the hardest to identify as being old. In fact, many of the old patterns have found new life in today's households, so much so that manufacturers scramble to fill department store shelves with reproductions. 

Pressed glass frequently is advertised as having been made recently from old– meaning 19th-century molds. However genuine the molds, the resulting glass cannot be compared with the original pieces. Both the glass and its color are somewhat different. The present-day manufacturer who uses 19th-century molds doesn't go to the trouble of mixing a batch of glass according to 19th-century formulas. As a result, his clear glass isn't an exact counterpart of last century's, and the red, green, blue, or other colored glass pieces rarely have the same tints and tones as the originals.

In addition to reproductions, many fakes are being made in pressed glass. One telltale sign of a fake is a slight difference in pattern. During the 1800's, variants of popular patterns became common, but a variant made by a glasshouse other than the one that introduced the pattern shows some alteration in the motifs or their arrangement. A fake, on the other hand, is an attempt to reproduce a pattern of the 1800's without bothering to copy every detail exactly.   

Twentieth-century imitations of the popular Wildflower pattern, for example, have fewer leaves and flowers in each motif. The band of pressed daisies also is narrower. Moon and Star, a pattern that probably wasn't made before the 1880's, can be confused with an inaccurate contemporary version in which the sawtooth-like cutting around the moon is smoother and flatter than in the originals. As a matter of fact, any colored Moon and Star pieces are definitely fakes, for the 19th-century pattern was offered only in clear or clear and frosted glass. Dimensions of pieces also differ, but this is impossible to judge unless you have access to an authenticated 19th-century piece.

Pattern glass was made after 1850 in large sets for the table. Reproductions of even the most popular patterns, however, seldom include the entire set. Goblets are the most widely reproduced pieces, with tumblers, mugs, salts, match-holders, and other small pieces likely in some patterns. Considerable lacy glass with its stippled background, first made by the Boston and Sandwich Glass Company in the 1830's, also is being made now. Lacy glass never was made in a complete table set. Other specific clues for distinguishing between antique pressed glass and this century's copies are discussed in the chapter on pressed glass.

Cup plates, which were generally used until about 1850, and dolphin candlesticks, which were made from the 1830's to the early 1900's, have been so popular that fakes and imitations found a ready market. Dolphin candlesticks made between 1900 and 1910 can hardly be classed as antiques yet, but most of the late ones are much finer work than the more recent fakes and reproductions. Again, some dolphin candlesticks are said to be made from old molds, but the glass isn't the same quality or the color a duplicate of the original.

Dolphin candlesticks were made by many glasshouses, from the Boston and Sandwich Glass Company, which introduced them, to firms in Pennsylvania and the Midwest. The earliest Sandwich glass ones had a single square base. Then came the double square or square stepped base, also made at Sandwich and widely reproduced before World War II in the United States and Europe. Other glasshouses during the 1800's produced candlesticks having the dolphin shaft but with bases and sockets differing from those made at Sandwich. A hexagonal base, for example, introduced by a Pittsburgh glass firm in the 1850's has been reproduced widely too. There is also the petticoat dolphin with a high round base first made in the 1850's or 1860's. All styles were made in clear, opalescent, and some colors, also opaque white and opaque blue. 

Anyone who looks carefully should be able to recognize copies of dolphin candlesticks. Those made within the last 30 years have sharper, clearer details--fins in particular are sharper to the touch. The sockets, whether ribbed or petaled, usually don't flare outward. The glass is of poorer quality and the colors more garish. The proportions aren't so good either, for the dolphin is likely to be larger, and many of the copies are shorter candlestick

In spite of the large number of patterns in which cup plates were made in the 1800's, comparatively few are being reproduced. Since the originals were early pressed glass, the quality of the glass was good enough to give a bell-like ring when the little plate was tapped lightly. Reproductions or 20th-century imitations sound dead or dull.

A classic example of a fake, imitation, or reproduction that can confuse all but the most knowing is the Butterfly pattern cup plate, first made by the Boston and Sandwich Glass Company in clear and colored glass. The butterfly that gives the pattern its name stands out in the center against a stippled background. Flower sprigs encircle the rim and the edge is scalloped. During the 1930's, Butterfly cup plates were reproduced from a new mold that was not an exact duplicate of the original one. On antique Butterfly cup plates, the stems of the two leaves below each blossom are at least 1/s inch apart, but on this century's, the stems are almost opposite each other. One blossom on the old Butterfly plate has seven petals; all the blossoms on the recent plates have six. It's particularly easy to be fooled by a blue Butterfly cup plate, for this color as made in the 1930's  compares favorably with that of the 1830's.

Imitations of curtain tiebacks and furniture knobs also were made in quantity and sold cheaply  during the 1930's. Old patterns, including some of the Sandwich ones, were copied in both clear   and colored glass. Neither the quality of the glass nor the workmanship are any more comparable  than the colors to those made during the 1800's. The appearance of 19th-century milk glass are quite different. The slightest acquaintance with any piece of antique milk glass should enable a person to distinguish between the old and the contemporary.

Fakes aren't confined to pressed glass. Bottles and flasks, for example, frequently are made in imitation of typically American styles of the 19th Century. A "golden amber" bottle in the shape of a fish, made recently in Italy, "queen of the glass-making industry for generations," is not worth any more than its retail price. Only the amber fish bottles made in this country to hold Dr. Fisch's bitters are antiques. For holiday sale, 19th-century milk glass is still being manufactured in quantity, and many pieces copy or are reminiscent of the forms and decorations used during the late 1800's. However, the character and appearance are different.

To tell the difference between a 19th-century pressed glass goblet and a 20th-century reproduction or fake, a person must be alert to the patterns and pieces that are currently being manufactured. Equally important are a knowledge of the authentic motifs, as well as of their make-up, proportions, and placement to form the patterns, and the ability to judge the quality of stippling and frosting.

Cost prohibits the reproduction of cut glass as it was made throughout the 1800's. Its surface distinctions are the sharpness of the decorative motifs to the touch and the heaviness of the piece. 

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 art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Collecting is More Than a Passion

 

QUESTION: My passion for collecting seems to becoming an obsession. How can I control this? And how can I judge what things are worth collecting?

ANSWER: You’ve obviously been bitten hard by the collecting bug. Ever since the launching of the Antiques Roadshow and Pawn Stars, as well as eBay, Ruby Lane, and other antiques and collectibles, many people think that everything is worth something. And if something is old, it must certainly be valuable. 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, many people keep their treasured collections to themselves.

Collecting has broaden in scope over the decades. It used to be that antiques included only decorative objects and furnishings. Today, collectors consider any object 100 years old or older 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, comic books, and computers, 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.

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 railroad antiques in "All Aboard!" in the 2021 Summer 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.

How Do Antiques Dealers Price Their Items?

 

QUESTION: I’ve always wondered how dealers decide on the price of an antique. Sometimes, the prices seem deliberately inflated. And at other times, they seem downright cheap. What governs pricing in the antiques business?

ANSWER: That’s a great question. Most of the time, collectors dwell on the value of an antique. They usually don’t think about the price, unless it has a direct relationship to that value. 

The important thing to remember is that buying and selling antiques is a business. And just like any other business, dealers have overhead—if operating a shop, then electricity, heating, phone, and other utilities; if selling at shows, then the booth fee, advertising, etc. 

The key to making a profit in any retail business is to buy low and sell high. Most dealers mark up the price of their antiques by 50 percent over the buying price. But the higher the buying price, the less they can mark items up. High-end dealers selling antique for four to six figures often only use a 20 percent or less mark up. In this case, they need to sell the item quickly to make enough turnover to make a profit.

But a lot of dealers have antiques inventory that’s been in their shops too long. The longer an item remains unsold, the less the dealer makes on it because unlike the static price of an antique, the cost of running a business continues to change. 

And what about sales and bargaining? Many antiques dealers will bargain with a customer over the price of an antique. They know how much they must make on the item and won’t go below a certain price. Bargaining lowers the mark up and cuts into overhead costs.

Some antiques dealers, much like other retail business owners, will occasionally have sales to move merchandise. But don’t expect deep discounts on these items. Remember the mark up. Usually, sales bring customers into the shop who most likely will find something else that they like and buy that instead. Or they may buy several smaller items.

Generally, the higher the prices of the antiques, the less likely a dealer will bargain much for them. And those same dealers will not have sales.

Unlike antiques dealers who operate shops and do shows, flea market and antiques mall dealers usually deal in much smaller and less expensive merchandise. They’re more willing to bargain the price down a bit to make a sale. And often will lower prices on items that have been in their inventory for too long.

Antiques are such subjective items that prices vary tremendously depending on demand, current trends, and rarity. Prices can vary from dealer to dealer, so it’s difficult to compare the price of one piece with that of a similar or identical one. Antiques appreciate over the long term. Like the stock market, antiques rise and fall in value depending on demand and trends.

So how do antiques dealers ultimately figure the price of the items in their inventory? First and foremost is what the dealer paid for the item. Obviously, the higher the original price, the higher the retail price. And thanks to T.V. shows like The Antiques Roadshow and Pawnbrokers, the buying public has an inflated idea of what an antiques value actually is. 

The value of an antique is what someone is willing to pay for it. So the value is essentially what the last person paid for the piece. Values for high-end pieces usually result from auction sales while those for lesser valued collectibles may result from books dealing with a specific category of collectibles such as Depression Glass or world’s fair collectibles. While the prices of the former are kept in proprietary, subscription-only databases, those of the latter are available to the general public. And then there are auction/buy-it-now sites like eBay online. 

And many antiques dealers consult online auction results and other sites to determine what the going rate will be for the items they’re pricing. 

Finally, dealers add the percentage of markup, determined by the amount of their overhead and what their local market will bear.

One of the reasons many antiques sell for many times over their auction estimate is that many live on-site antiques auctions now include phone bids while many online auctions allow bidders to bid in real time. These phone and live online bids now come from anywhere, thus the final selling price of the item isn’t affected by the local market.

So the next time you’re out antiquing and come across that piece that you just can’t live without, remember the complexities of antiques pricing. And if you can purchase the piece for a reasonable price in the end, all the better. 

To learn more about what it’s like to start your own antiques business, read How to Start a Home-Based Antiques Business.

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 railroad antiques in "All Aboard!" in the 2021 Summer 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.

So You Think You Need an Appraisal

 

QUESTION:  I have inherited a bronze statue called “The Bronco Buster” by Frederic Remington, along with several other bronzes from my uncle. I know nothing about them but admired them on visits to his house. I’d like to find out what they’re worth and the best way seems to be getting them appraised but I have no idea where to start. Can you help me?

ANSWER: Bronzes are interesting pieces of sculptural art. Unlike paintings and other forms of sculpture, bronzes have been cast from a clay original. Does that make them less valuable? Certainly not. In fact, depending on the number cast from the original mold, they can be quite valuable. When it comes to art, most antique dealers don’t know where to start to valuate a bronze sculpture. For this, you’ll need an expert’s opinion. 

Contrary to popular opinion, not just anyone can valuate an antique or collectible. Asking someone how much an object is worth is like asking if it will rain tomorrow. The only way to know what an antique, especially a potentially valuable one such as this clock, is worth is by having it “appraised” by a professional appraiser. And only a professional appraisal is legally binding when it comes to insurance claims or inheritances.

Exactly what is an appraisal? An appraisal is the paid opinion of an expert on the value of an object based on known facts. In the case of antiques and collectibles, known facts include records from more than one sale at more than one auction, the latest published price guides, and personal experience gained from buying and selling similar items many years.

While a verbal appraisal may offer an indication of how much an item is worth, a professional written one is the only one legally recognized by insurance companies and the courts. It must be based on fact and able to stand challenges in court. However, written appraisals, even for one item, can take hours to prepare and are expensive, but are absolutely necessary to prove an item’s worth.

A written appraisal is the result of hours of research by the appraiser. First, he or she must determine the age of the object based on its appearance, materials, and craftsmanship. Decorative techniques and motifs may also play a part. Then the appraiser needs to search for a provenance if the object doesn’t yet have a written one.

A provenance is a history of ownership dating from when the object was first made and by whom and continuing through various owners to the present day. This may not be easy. Often the appraiser has to contact experts in the particular category of antiques to fins out more about the object. Lastly, the appraiser searches auction databases, not available to the public and only to subscribers for hefty fees, to find out the sales history for objects like the one being appraised. While the last sale price usually determines the market value of the object, an appraiser will often average out the most recent sale prices to determine the object’s value. All this information, written up in legal form, plus photographs of the object, constitutes the appraisal of the object. Most appraisers usually assemble the contents of the appraisal in a folder or bound form before presenting it to the current owner of the object.

Take General Sherman’s hat, for example. Did this hat actually belong to General Sherman? How many other owners did it have after him? And how did the hat get passed down to it’s present owner? While there may have been other hats like it, most likely it was one of a kind, made especially for Sherman. This is where an appraisal is best.

Formal appraisals fall into two categories—replacement and fair market value. Insurance companies require the former, while estate valuations require the latter.

Replacement value is generally defined as the price at which an object would be available on the retail market. In other words, what an antique dealer would charge for a particular item.

When you try to insure a collection, the insurance company wants to know how much it will cost to replace it. The same applies for a single piece of furniture. The insurance company won’t accept a verbal appraisal as the basis of settling a claim. Instead, they require a written appraisal with proof of replacement cost.

Fair market value, on the other hand, is best described as "the price that property would sell for on the open market between a willing buyer and willing seller, with neither being required to act, and both parties having reasonable knowledge of the reasonable knowledge of the relevant facts.

But whatever the appraised value, an object will bring only a percentage of its replacement value when offered for sale—generally between 40 and 60 percent below replacement cost. Items that sell extremely slow will sell for only about 30 percent of replacement value, while those that sell fast may bring 80 to 90 percent of replacement value. 

With so many auction sites online these days, it’s easy to pull one up and do a search for a particular antique or collectible to see what it may be selling for. Most people use eBay. Unfortunately, the amounts listed on eBay may not reflect an object’s true value. If the object is listed on an auction site, then, as with live auctions, the price could go way above the object’s current value due to competition between bidders. If someone really wants an antique or collectible, they may stop at no amount of money to obtain it.

Objects of antiquity are another matter altogether. Copies abound. This little ancient Egyptian sculpture of a boat and its occupants is a good example. To the untrained eye, it may look authentic, but only an expert can tell for sure. In fact, many copies of small tomb sculptures have been made and sold as souvenirs to tourists.  

Too many homeowners use this as an easy way to price items in a yard or garage sale. Flea marketers do the same. This is why so many items that are actually worth much less are selling for higher prices today at these venues. 

Prices of objects at antique shows usually sell for the amount of their value or a little less. However, some sell for what the dealer perceives to be the value of the object. High-end dealers selling objects for four to six figures do their research and know their market. Those selling at middle-market shows, sometimes do research about an item, but, more often than not, just guess at an item’s value and price it for what they think the market will bear.

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.

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. 

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