A Picture is Worth a Thousand Words–and Sometimes Much More

QUESTION: My grandfather collected all types of circus posters, programs, tickets and much more. When he died in 1969, they were all given to my Father, and now I have them. Most of the items are from the 30's, 40's and 50's.  Can you give me some insight as to where I can find out their value?

ANSWER: Circus ephemera, those tickets, programs, and posters that this person mentions above, seem to be surfacing everywhere. Perhaps, it’s because people who held on to them stuffed them in drawers and closets. When they die, their family finds them and not knowing much about them, have no idea whether they’re worth anything.

Circus posters, in particular, can be worth more than just something. But like with most collectibles, condition is of prime importance.

Weeks ahead of its show date, a circus would send advance men into town to plaster posters, called “bills,” all over town. These bright-colored graphics enticed men, women, and especially children within a 50-mile radius of town to come to the show. No color was too bright, no word too big for the circus–greatest, bravest, most stupendous, world famous, exotic. These posters  promised showgoers beasts from the Far East and Africa, dare-devil aerialists, and luscious lady equestrians in glittering tights riding

Circus posters were crucial for drawing crowds to what were only one or two performances per location. Many early ads were simple woodblock prints mentioning the name of the circus, the price of admission, and a few acts.

Along with circus posters, the circus created such common concepts as marketing campaigns and the tools that go with them–junk mail and free coupons–plus the idea of “newer, bigger, and better.” Advance men saturated the show location with 15,000 to 20,000 poster sheets, or the equivalent of 626- 833 standard billboards.

Because the poster was the most important element of a circus’ promotion, they constituted one of the principle products of the commercial printers in the 19th century. Printing houses created these posters using the team approach with many artists working on any one design. One artist might specialize in lettering while another specialized in portraits of performers, and another in animals.

Circus posters fall into two categories–stock posters and specialty posters. Stock posters were generic designs that each show printer produced, but that could be used by any circus. These posters featured images of clowns, wild animals, and performers. It wasn’t uncommon for more than one circus to use the same poster designs in the same season, the only difference being the show title on the posters. Show printers produced thousands of these and sold them to any circus promoter that needed them. They designed specialty posters, on the other hand, with life-like portraits of featured performers or depictions of specific acts for particular circuses.

The value of circus posters depends on their condition. Since they’re made of paper, time and humidity can cause them to deteriorate over time. Creases, caused by folding for storage, can actually add to their value. Unfortunately, since so many artists worked on a particular poster, most aren’t signed. The best way to get a ballpark estimate of what a poster is worth is to check what a poster has sold for either through a dealer or at auction–then take half.

For more information on circus posters, read Step Right Up!

Locating Antique Furniture Parts

QUESTION: I have a Chippendale/Mahogany bookcase/secretary that is missing a finial. Do you have any idea where I can locate one?

ANSWER: Finding parts for pieces of antique furniture can be a quest in itself. But before you decide to restore a piece, you first have to know how old it is. A piece of furniture dating before 1830 is considered a fine antique. As such, it has special rules for restoration. First, you cannot replace more than 60 percent of it without it being declassified as an antique. Replacing anything on it will definitely lower the value. In fact, doing any sort of restoration usually hurts the value, unless it’s to restore the integrity of the piece.

Restoring furniture made after 1830 is another matter. As time goes on, even pieces dating from the mid-19th century will be scrutinized closer when it comes to restoration. However, generally the fine antique crowd tends to avoid anything Victorian, looking upon it as used furniture. Replacing parts and restoring a piece of Victorian furniture can actually enhance its value. But the replacement has to be of the finest quality and the restoration done right.

The person who asked the question above didn’t signify when her bookcase/secretary was made. If it were an authentic 18th-century Chippendale piece, replacing that finial would have to be done by a professional cabinetmaker and restorer. This could cost several thousand dollars, but when the piece may be worth half a million in the first place, that’s a drop in the antique bucket. The cabinetmaker or joiner would have to hand-carve the missing finial to create an exact match to the original.

If–and that’s a BIG if–a replacement could be found from an identical bookcase/secretary, that would also work. But since 18th-century cabinetmakers all customized details like finials on their pieces, the chance of finding one is a million to one. The only way to make sure is to find a bookcase/secretary from the same cabinetmaker that’s beyond restoration and use it for parts.

On the other hand, if the piece were from a later period, and I’m guessing it is, it may be possible to find a finial floating around in a antique or junk shop. But you can’t just go to a home center and pick one off the shelf.

The first place to start looking is in antique shops that specialize in selling furniture. This could take years of browsing. But parts have been known to service in the least possible places.

You can also turn to a cabinetmaker who specializes in making replacement parts for furniture. This, again, could cost a bit since each part has to be handcrafted and that takes time.

Finally, there area a number of places on the Internet to find replacement parts. A lot of them sell mostly replacement hardware, but some, like Don’s Furniture Clinic and Antique Furniture Repair and Refinishing, do make parts to order. McLean’s Refinishing, of Bogart, Georgia,
stocks old furniture parts and has access to reproduction and replacement parts.

What’s All the Confusion About American Parian?

QUESTION: Can you tell me if the cream pitcher and sugar bowl I have are authentic pieces of Parian ware? Someone told me they might be American.

ANSWER: Parian ware is a type of salt-glazed pottery made in England beginning in the 1840s. The English pottery that originally developed it, W.T. Copeland, named it after Greek Parian marble since they intended to duplicate expensive marble sculptures for the growing merchant class who wanted to emulate decorative pieces owned by the wealthy. While it has the same ingredients as porcelain–white clay and feldspar–the proportions are two of clay to one of feldspar, instead of equal ones as in porcelain.

Victorians who were climbing up the social and economic ladder loved the statues of classical figures and such, made to resemble those of ancient Greece and Rome. After Copeland, the most famous maker of Parian, perfected the process, other English potters, including Boote, Minton, and even Wedgewood began producing it.

British potters, who immigrated to America in the 19th century, brought with them the skills to make Parian and established potteries from Vermont to South Carolina where they made Parian ware using English techniques. Just as their British counterparts, American women loved it because it resembled expensive marble at a fraction of the price. Most pieces are a dull, gray-white and unglazed.

Parian really took off in the United States after the 1876 Centennial Exhibition in Philadelphia where several American potteries set up exhibits of their works. Potteries such as Ott & Brewer of Trenton, New Jersey and Union Porcelain Works of Brooklyn, New York created Parian statuary with truly American themes. Since the Civil War had ended a little over 10 years before, many of them celebrated the heros of it. The game of baseball had also gained national popularity, so Ott & Brewer produced a statue called “The Baseball Pitcher,” sculpted by Isaac Isaac Broome for their exhibit at the Centennial Exhibition.

What gets many collectors confused is that the Bennington Pottery, founded by Christopher W. Fenton, operated under the name Fenton’s Works from 1847 to 1849, and then as the United States Pottery Company from 1849 until 1858. It produced not only Parian statuary but also 16 different styles of pitchers to hold everything from water to ice tea and milk.

While the potters back in England marked their pieces, many in America did not. The United States Pottery in Bennington, Vermont, one of the most noted American Parian makers, marked only about 20 percent of their pieces and then mostly pitchers with either “Fenton's Works,” “U.S.P.,” or “UNITED STATES/ POTTERY CO."

So the creamer and pitcher above would most likely have come from one of the American Parian makers rather than one in England.

For more information on Parian ware, read Parian Ware–Affordable Art for the Masses.

Time in Your Pocket

QUESTION: I recently inherited a pocket watch from my grandfather.  It has an ornate gold case and seems to keep fairly good time. Is it worth keeping, perhaps as the start of a collection.

ANSWER:  There was a time back in the Good Ole Days when grandpa kept his watch in his pocket. The wristwatch, as we know it today, didn’t come into common use until after World War I. Nearly every working man up to that time kept his watch in his pocket.

First known as portable clocks, pocket watches were large and cumbersome. The typical 17th-century timepiece was four inches wide and nearly three inches thick. Since they were a bit too big and because people didn’t have pockets, most owners wore them around their necks on chains.

By the 18th century, men’s waistcoats and vests had pockets. In the meantime Peter Henlein and other watchmakers had discovered spring technology and soon began to miniaturize personal timepieces. Because the watches didn’t have any cover to protect the crystal, watchmakers fashioned small slip cases from silver or gold to protect their watches.

Today, pocket watches are one of the most collectible items. Not only do they look great, but they take up little room and hold their value, making them a great long-term investment. While pocket watches made before 1865 are available, their cost can be prohibitive to the beginning collector. Those made in the late 19th and early 20th centuries come in a wide variety of styles and prices. Some collectors specialize in collecting only railroad pocket watches. From the beginning of railroading in the United States, keeping accurate time has been a requirement for efficient operation.

A number of reference guides provide a way to look up a pocket watch manufacturer’s serial number.  Some collectors have even turned to the Internet to find information on their watches. To find the serial number on a pocket watch, very carefully remove the back of the watch and look for the number on the movement inside.


For more information on pocket watches go to Bowers Watch & Clock Repair and The Antique Pocket Watch

What to Do With Old Cameras

QUESTION: I just purchased a good digital camera, and I love it. Besides my 35mm camera, I have several other older cameras. What can I do with them? Are they collectable?

ANSWER: Now that digital photography has become firmly a part of people’s lives, what should everyone do with their old cameras? Even though photography has been around for well over a century, it’s taken a long time for photographic gear–cameras in particular–to become part of the collectible scene.

Last summer, as I was browsing a local church flea market, I saw an entire table full of cameras of every type and description. Most were 35mm castoffs, but a few were older. With the ease of taking photos with a digital camera, let alone not having to buy film, it’s no wonder the dealer had so many cameras and lenses on hand. But are these recent castoffs worth anything in the collectible market? That’s the big question.

Unfortunately, in the world of photographic memorabilia, recent 35mm cameras aren’t worth much unless they’re classic cameras or rare or unique models. Sure, in perhaps 20 years or so, their value will climb, but for right now their only value remains as used cameras.

So what types of cameras can you collect without breaking the bank? There are lots of modern cameras that have long ago outlasted their usefulness that can create an interesting camera collection. You can pick up a decent 100-year-old Kodak box camera for about $25 to $35 at flea markets. Folding cameras go for a bit more. There are also lots of other cameras, like Kodak’s Brownie that you can buy to start a modest collection.

The biggest problem with collecting cameras, however, is where to put them. Ideally, you should display them in a glass-doored cabinet to keep them from getting dusty. If you can’t display them, buy one of those large plastic storage bins at your local discount store and wrap each camera in bubble wrap. Be sure to put some drying agent in the bin to keep moisture from building up.

For more information on collecting cameras, read Collectors Snap Up Old Cameras.

The Often Confusing World of Antiques

QUESTION: Every time I go into an antique mall or visit a show, I become overwhelmed by all the items.  How can I make sense of it all?

ANSWER: If you’re like this person, perhaps you’re mind and senses have gone into antiques overload. So many items–furniture, ceramics, pictures, jewelry, old Coca-Cola signs and things that look like the cat dragged them in. So where’s the good stuff?

It all seems so confusing. And the prices for some products seem ridiculous , especially if you’re a beginning collector. But don’t despair. There’s a method to all that antique madness. Believe it or not, there are some main categories.

When most people think of antiques, they think of furniture. And though it makes up a good percentage of antiques out there, smaller items, known as “smalls” in the antiques business--ceramics, glassware, silverware, toys, and commemorative items–all play important roles.
All in all, there are about 15 major categories and 75 sub-categories. Within these there are other, more specialized areas, such as antique maps and posters, two very specialized categories.

Even though antiques can be categorized generally, dealers and serious collectors use historical periods–Victorian, Roman, Gothic, Civil War, Western and even the1950s–to sort things out.
Often, these terms also indicate different styles.

For instance, in the world of furniture, you’ll probably see examples of English, French, American, and Chinese styles at most antique malls, shows, or auctions. Most English furniture falls into the pre-Victorian or Victorian category while American furniture tends to fall into different types: Pennsylvania, Shaker, New York, etc..

Porcelain or pottery pieces fall into categories associated with the country in which they were made–England, Germany, France, American, Chinese and Japanese are just a few. The four you’ll see most are English, German and Japanese, and American. You’ll soon become familiar with names such as Royal Doulton, Staffordshire, and Meissen, Blue Willow, Limoge, Belleek and Sevres, especially if you frequent the better antiques venues.

Glassware is the third most popular category. You’ll see all types, including Depression, Venetian, English, and Czech glass. Most glassware collectors specialize in a particular produce line–bowls, tumblers, decanters, etc. There’s also a refined category known as art glass in which you’ll find all those pretty vases blown in amberina, peach blow, and ruby.

These are just some of the many categories of antiques that you can begin to collect. While some tend to be higher priced, you’ll find plenty of small pieces of furniture, ceramic, and glassware to get you on your way.

Reviving the Essence of Colonial Furniture

QUESTION: I was wondering if you could tell me anything about this desk. My grandmother told me it was a Chippendale, but I can't find any desk that lookS like it for a reference. There are no desks that have the scallop pattern on the pull down. or brass hardware railing on the top.

ANSWER: What this person has is a fine example of what's called Colonial Revival furniture. Her grandmother wasn't too far off. Her desk was made in the style of Chippendale, but it's not a Chippendale. That's why she couldn't find it anywhere.

But let's look at what it is. Colonial Revival was a style period that lasted from about 1880 to 1910. Everyone who went to the Centennial Exposition in Philadelphia in 1876 got excited by the exhibits on Colonial America and wanted to have interiors that reflected that period. Unfortunately, not many of the designers did much research into what Colonial furniture–18th century furniture looked like. So what resulted was a hodge-podge of decoration that resembled a little of one 18th-century designer and a little of that one.

Chippendale was a biggie. They loved his style. Sheraton and Hepplewhite were also popular. Think of the development houses of today. Each has a hodge-podge of decorative elements, but no house exactly reproduces a particular style of architecture. You see Colonial, French Provincial, Tudor, etc. elements in each house–and it seems every house has a palladium window.

After the Colonial Revival Period came to an end, furniture manufacturers continued to employ these pseudo-Colonial styles in what came to be commonly known as “Period” furniture. This was all the rage in upper middle class households in the 1930s and 1940s. By the 1950s, “Period” furniture had trickled down to the middle class, who wanted their interiors to look as elegant as those of the rich folks but at a much lower price. Manufacturers used mostly dark mahogany finishes or veneers to give their pieces an elegant Colonial look much like the pieces at venerated historic houses like Mount Vernon. The giveaway on this desk are the drawer pulls and the feet. Both are too highly decorative to have been on a true Colonial piece.

If you have a piece of furniture like this that dates to the beginning of the 20th century, you have a fine piece which has value in its own right, but not the value of an 18th-century antique. However, if you have a “Period” piece from the 1930s-1940s onward, it’s only value lies in its being a piece of used furniture.

To learn more about authentic Chippendale furniture, go to Chippendale--The Royalty of Antique Furniture.

To learn more about the revival styles of the Victorian Era, go to THE VICTORIAN ERA--An Age of Revivals.

Let's Go to the Fair

QUESTION: My uncle's dad founded Greyhound Bus, and he had this keepsake from the 1939 World's Fair.He claimed they made a ton of metal buses to give away, but never really put this tram into production. Have you seen one like this?

ANSWER: I get almost as many questions about souvenir items from the 1939 New York World’s Fair as there were items sold or given away at the Fair. Well, not really, but pretty many.

The item this person mentions–a small cast-iron Greyhound Bus tram–was one of over 25,000 different mementos made for the Fair. Fifty stands sold souvenirs–everything from postcards to guidebooks to view folders and books, as well as a myriad of novelties that gave "knick-knacks" a whole new meaning. Vendors also sold a myriad of pins. Orange and blue World’s Fair emblems graced the surfaces of every one of them.

The Fair opened on April 30 , 1939–the 150th anniversary of George Washington’s inauguration at Federal Hall in New York City. At 10:00 A.M. Mayor LaGuardia cut the ribbon at a dedication ceremony in the Temple of Religion. Trumpets heralded the procession of thousands of police officers and military men and public officials. And at 2:00 P.M. President Roosevelt dedicated the fair. Altogether, 60 nations and international organizations took part. Thirty-three states of the United States also had exhibits–and every one of them had giveaways and more deluxe souvenirs for sale.

Why is it then that the New York World’s Fair’s souvenirs seem to stand out from the Pacific Exposition in San Francisco that same year and the Century of Progress Exposition in Chicago six years earlier? For one thing, the shear numbers of items–millions of them–flooded the U.S. and the world with mementos of the Fair. Every visitor, no matter their economic status, brought home something, from small toys like the Greyhound tram to three-legged folding cane/seats so visitors could take a rest while walking the Fair. There were also wallets, bracelets, woman’s compacts, snow globes, and thousands of pins. And for stamp collectors, the Fair offered first day covers, postmarked daily at special U.S. postal stations at the Fair.

Another reason the 1939 New York World’s Fair offered so much variety was that unlike previous world’s fairs of the 20th Century, it was truly a commercial phenomenon. There, housewives first got their first look at automatic washers, cooking mixes, and small appliances of all kinds. So the corporations who sponsored the Fair went all out to promote their new products–products of science and imagination.

So to answer the question above–have I seen such an item–probably not, but that doesn’t mean it didn’t exist and can be worth some good money in the very specialized World’s Fairs’ collectible market.

For more information about 1939 New York World’s Fair memorabilia, click here.

A Case of Mistaken Identity

QUESTION: I saw a Queen Anne dining set in a shop, and it appears to be old, however the chairs are upholstered in a ‘vinyl’ material which also appears old, but is this an antique?

ANSWER: I get questions like this a lot. Most of the time, the persons asking them think that because a piece of furniture is in a particular style that it’s an antique. But they fail to realize that certain popular styles of furniture have been reproduced over and over throughout the last several centuries.

From the photo, I could tell that the dining table and chairs had been made in the Queen Anne style, but I could also tell right away that it wasn’t an antique. The giveaway was the extra leaves in the table. From the looks of it, I'd say the set might be as old as the 1930s, but I'm leaning more to the 1960s. Let’s see why.

At the time Queen Anne was popular in the 18th century, dining tables like this one with added leaves didn't come into use until the 19th century. During the 1750s, joyners–the person’s who made furniture–made Queen Anne dining tables as drop-leaf tables with large leaves or wings that could be folded up and stood against a wall until ready for use. In many cases, the owners stood them in their front hallways to allow for more space. A wealthy 18th-century family would have only used a larger table like this when dining with guests. They often ate at a smaller table by the fire, especially in winter, or had “tea”–what we call supper–in their bedrooms by the fire. When not in use as a dining table, they may have used it for other things and stood the chairs against the wall around the room.

At the end of the 19th century, a style called Colonial Revival came into popularity because of the colonial exhibits at the Philadelphia Centennial Exposition in 1876. Furniture makers began to make what they thought looked like colonial furniture although it was often stylized and lacked the fine details of the original.

That said, this table and chairs did seem to be well constructed of solid woods and, therefore might sell for somewhere between $1,500 and $2,000. But don’t mistake the identity of this dining set for the real thing. It isn’t.

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.

The Quagmire of Value

QUESTION: I just inherited a lovely old armoire from my mother. As we were taking stock of her things, an antique dealer, who had come to look at some other items, told me he’d give me $1,000 for it. I really love the piece and am not considering selling it, but I would like to know its value. Can you help me?

ANSWER: While the answer to this person’s question may sound simple, in fact, it’s far from it. What type of value does she mean–retail value, insurance replacement value, fair-market value, auction value, or cash value? In the end, each of these values will be a different amount. Other factors determining value are age and condition. So where to begin.

Let’s start with retail value. This is the price for which an antiques dealer expects to sell an item after marking it up from the price the dealer paid for it in order to make a profit. This amount can  be anywhere from 20 to100 percent of the dealer’s purchase price.

The amount of money it would take to replace an item from a antiques shop or online if it were lost, stolen, or damaged is called the insurance replacement value.

The price that an item would sell for on the open market between a willing buyer and a willing seller is known as the fair-market value. This is also the value that’s used when an item is donated to a charity or is part of someone’s estate.

And when someone puts an item up for auction, the price that an appraiser feels the item should bring at auction, based on comparison of like items and recent other auction sales, is known as the auction value, but has nothing do with the actual value of the item.

However, being told something is worth a specific value is meaningless if the appraiser doing the appraisal has no knowledge of the item itself or the market for it. And auction prices, such as those eBay are not an indicator of true "worth," since many of these sales prices are inflated many times over in the heat of bidding up an item. And a verbal appraisal is worth nothing without a written one to back it up, especially in the case of settling an estate.

To learn more about how to value your antiques and collectibles, read my article, “What’s It Worth?,” on my antiques Web site, The Antiques Almanac. 

The Beauty of Christmas Kugels

QUESTION: I came across a heavy white glass ornament with what appears to be some sort of decals on the bulbs. Also each one has a colored stone–almost like birth stones–indented into the ornament. All the tops are a gold finish. I have seen a lot of ornaments but none like these. Any ideas?

ANSWER: It sounds like this person has discovered a kugel, a type of heavy glass Christmas ornament made in Germany from about 1840 until 1914. The word kugel means “ball” in German. The first ones were smooth, heavy glass balls that were too heavy to hang on anything but a stout pine in the yard, so people hung them in their windows.

Louis Greiner-Schlotfeger invented the kugel to compete with the glassblowers of neighboring Bohemia who had perfected blowing glass beads lined with lead mirroring solution with produced a brilliant shine. And though he was able to duplicate the lead mirroring solution, he couldn’t hand blow his kugels thin enough. The result was heavy pieces of glass shaped as balls in a rainbow of colors in sizes ranging from an inch in diameter to over 30 inches.

Originally, the glassblowers hung their kugels with bits of wire. After blowing a glass bubble, they snipped it from the blowing tube which resulted in a small neck with a hole leading to the inside of the kugel. They ground the neck down leaving just a hole and attached a decorative brass cap, held in place with wire arms that spread apart inside the glass sphere. Finally, they attached hanging rings to the caps and hung them with wire hooks.

It wasn’t until 1867, when Greiner-Schlotfeger’s village built a gas works that he had a steady, hot, adjustable flame, enabling him to blow thin-walled glass balls. From that point, it was a simple step to blowing glass into cookie molds shaped like fruits and pine cones. While the glassblowers still called them kugels–more specifically Biedermeierkugeln, referring to the Beidermeier Period in which they were made–they technically weren’t any longer and soon people called them Christmas ornaments.

By 1880, full-sized trees decorated with expensive imported German glass ornaments became all the rage among the wealthy. American retailer, F.W. Woolworth, saw these ornaments on a trip to Germany, but was reluctant to order any for his stores–at least at first. To his amazement, his original order sold out in two days.

For more information on kugels, read my article on antique Christmas ornaments.

Tiffany Lamps Go for Big Bucks

QUESTION: An art dealer came to our house to look at a painting and noticed the Tiffany chandelier hanging in our dining room. A year and a half later, he called back with interest to purchase it for a significant amount in cash. I did some checking and discovered that an original Tiffany back in 1977 sold for $22,000. What is the best way (if I was even to consider selling it) to get the most value for what it's worth?

ANSWER: This is just one of many questions I have received about Tiffany lamps. The recession has got everyone looking to sell items that may have some value. And with the Antiques Roadshow highlighting some valuable Tifffany lamps, people have gotten dollar signs in their eyes.

Tiffany Studios, founded by Louis Comfort Tiffany, designed and produced the only authentic Tiffany lamps. Historically, Tiffany, himself, never actually made any of the lamps, but just oversaw their production and design. He personally guided the lamps that came from his studio  between 1899-1920 through all stages of their creation. This not only included the shades, but the handmade bronze bases as well.

Tiffany’s magnificent lamps were an instant commercial success. Wherever they appeared, they received prizes and awards. He was the first to design lamps to be operated using the new electricity, then only affordable by the wealthy. But once his lamps caught on, several other American companies, including Handel, the Pairpoint Corporation and Quezal, emulated his designs.. While Handel and Pairpoint concentrated upon creating innovative lampshades, often, but not always, in the style of Tiffany, Quezal helped to satisfy the increasing demand for the iridescent glassware, called favrile, popularized by Tiffany in America.

The name "Tiffany" has become a generic term for windows, lamps, and glass of–or imitating–the period. However, there were many other firms in the U.S. and in Europe doing similar and in many cases nearly identical work. This has lead to a great deal of confusion, and much work by other companies has been sold as "Tiffany,” often with false "Tiffany" signatures added to it.

It’s important to note Louis C. Tiffany and Tiffany Studios did NOT mark or sign many of their lamps in any way. However, it’s often easy to forge Tiffany signatures on similar-looking period or reproduction items. Many genuine Tiffany pieces that weren’t signed originally have probably had forged signatures added to them to increase their worth and make them easier to sell, as well.

By his vision and energy, Louis.C. Tiffany succeeded in blending classical motifs with bold new techniques in glassmaking to create a distinctive American art form. The demand for Tiffany lamps among today's collectors attests to the lasting value of his work. The table lamp with the wisteria design pictured above recently sold for over $600,000. If that doesn’t get dollar signs in people's eyes, nothing will.

If you have what you think may be a real Tiffany and it doesn't have a signature, send a photo and description of it to Christie's Auction House to have it verified.

To read more about Tiffany lamps, go to my Web sites: Writing at Its Best and The Antiques Almanac.

Hess Toy Trucks--Everyone's Favorite Holiday Collectible

QUESTION: I have a complete collection from 1988 through 2008 including every truck (2 1996), most packs of batteries with Hess logo and several Hess truck bags. I have recently gotten married and have no room for them with my other collections. How can I sell them and where can I sell them without giving them away?

ANSWER:  It’s Thanksgiving time once again and that means Black Friday and, for the last 45 years, Hess toy trucks. And you don’t even have to get up at 2 AM to beat the crowds because the Hess Corporation has pushed back the start date to a week before Thanksgiving. For many years, people lined up at Hess Stations on Black Friday morning to get their hands on the coveted toy “truck” of that year.

Starting in 1964, the Hess Company wanted to thank their loyal customers by making small replicas of their trucks as a token of appreciation for their business throughout the year. The company was the first one to manufacture toy trucks that had working lights and sound. Hess gas stations along the East Coast sold the "B Model Mack  Tanker" in 1964 and has continued that tradition each year since. Because the company produced these trucks in limited quantities, they limited each customer to two of them. That first truck sold for $1.29, and today can sell for over $2,500. Over the last 15 years, the value of some of the older Hess trucks has doubled. But there is a catch.

More than half the value of each truck depends on the condition of its box. If the truck, itself, is also in perfect condition, then it’s considered to be “MIB” or Mint-in-Box.  Most people have trucks they bought to give to their kids for Christmas. Unfortunately, their children played with the trucks and now they’re worth a fraction of the mint ones.

Plus values of these toys tend to fluctuate, depending on who’s buying them. While dealers pay the lowest amount and then double it to sell them, some collectors will pay just about anything to get the truck they want. In fact, I heard of one guy who drove four miles to meet a woman in a rest area on an Interstate highway just to look at a truck she had for sale.But before you get dollar signs in your eyes, understand that the true value of your collection is whatever anyone is willing to pay for it or individual pieces.

Of course, values can be different, depending on which price guides or Web sites you consult. A truck listed for $300 on one site might be listed at $400 in a current guide. And since Hess Stations operate on the East coast, collectors in the West will usually pay more.

While the first trucks were tankers, succeeding ones ran the gamut from transports to fire trucks and car carriers.  In 1966, Hess deviated from its line of trucks by producing an ocean-going tanker, but it wasn’t until 1993 that the company offered a police car and in other years sold a helicopter carrier, monster truck, and this year, a race car. However, the price has gone up from that first truck selling for $1.29 to $24.99 for this year’s model race car.

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To find the retail value of your Hess Truck, check The-Collections.com

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.