Estate Sales Done Right!

November, 2007
Complimentary Copy From Our Advertisers
Estate Sales Done Right!
E
state sales are something that can represent a positive or sometimes an emotional time in a seller’s life. They represent the liquidation of items that can
bring a nice financial windfall or be part of an emotional family loss. In planning for the sale of special family items, some considerations are
important to make sure you’re fairly represented and professionally treated with experience and sensitivity..
As an example, during the summer of 2001, a local company,
already having extensive experience in the antique industry and
appraising estate antiques for a local auction house, re-invented a
business concept that is changing the way people look at the term
“estate sale.” With an ever-growing city, over-flowing retirement
communities, and an always changing real estate market, the
need for a knowledgeable and reliable personal property service
was becoming very evident. The two most frequently asked questions are “what are my things worth” and “how can I sell all my
personal property and antiques?” Most services might over-look
or not have the necessary buyers to help obtain that value. Helping people answer these questions and taking care of all the personal property needs of each estate, is the exact reason a quality
firm with estate experience is important.
A superior company will come and evaluate your estate situation and walk the family/executor thru the options available to
best serve the needs of the estate. If a verbal or formal written
appraisal is necessary, the firm’s representative (who should be a
Graduate Personal Property Appraiser (GPPA), should provide
either an “insurance-replacement cost” or a “fair market value”
appraisal. If a sale of the contents or partial contents is needed,
the “private appointment sale” method has developed into one of
the most effective means of helping people/estates take care of
everything from regular household goods to their expensive and
“fine” antiques. “The public (tag) sale” method is a more widely
used method by most estate services, but should only be used with
the right combination of the estate’s location, as well as the amount and type of estate
contents. “The estate auction” method can be a very beneficial means of sale, especially if
the estate has a large collection of fine antiques, art, and/or collectibles.
A quality firm who is experienced with estate sales should
also be able to handle and sell specified, quality consignments
offsite, fine antiques, silver, porcelain, fine art, sculptures, and
many other pieces or collections. The word to all antique dealers across Arizona is that you can buy antique and collectibles
through a qualified firm and their estate service. Find a company
that is experienced in handling heirloom items of an estate level.
Find someone that has been selling dealers, designers, individuals, and others who might have a serious interest in, as an example 17th-early 20th century antiques and decorative arts of all
origins, and is easy and knowledgeable to work with.
Many times such sales come at a very emotional time for
families but the worries and concerns of personal property matters don’t have to be such a burden, and can be a very exciting
process with great results, or just be a reliable and necessary
means to help you or your family thru a sometimes over-whelming process.
So look for a company with years of estate and personal property experience. Look for someone who has “contacts” within the
antique community and can offer effective quality marketing and
auction services ranging from small private sales to larger venues, and someone qualified to offer genuine and realistic personal
property and antique appraisal services.
Jim Friend President of Fine Estates, Arizona’s premier estate and personal property service
Jim is a Graduate Personal Property Appraiser (GPPA), a
Certified Estate Specialist (CES), a licensed & bonded auctioneer (NAA) specializing in fine antiques, silver, & decorative arts.
For questions, Jim can be reached at (480)- 425-9100.
Why People Adore and Collect Antique Cars
By Carl A. Phillips
T
he American automobile industry began in the early 20th century and has been a huge factor in creating the society we live in
today. It was the driving factor in creating the system of superhighways linking the country together. It was the driving force
in the creation of the suburbs, many of which you can only get to by car. And, on the negative side, it can be argued, that it was
the primal force in helping to speed the breakup of the nuclear family. It made travel so easy that it became almost trivial for family
members to move cross country and start a family unit in an entirely new state.
Antique car collecting and restoration is a hobby practiced by people all over the world. Even American celebrities fall in love with
them. Jay Leno, in addition to hosting the Tonight Show, is known for his huge collection of antique cars and motorcycles going all
the way back to the early 20th century. Past stars know for their love of cars are Larry Hagman and Steve McQueen.
But you don’t have to be a celebrity to love antique cars. People collect them for various reasons.
They Love the Attention
Do you have a spit polished Model T Ford sitting in your garage? Try driving that car down
virtually any street in America and it is almost guaranteed people will stop and stare at it. The
same will be true for almost any classic antique car. If you love being the center of attention,
this is one surefire way to achieve it.
They Love Tinkering
Any mechanic in love with automobiles would love to work on some of the classic
antique models of the past. What car fanatic wouldn’t love to turn up the hood of a
Model T Ford and customize it to their specifications? Or create their own unique
“hot rod” from the shell of a discarded antique auto. And who wouldn’t want to play
with an engine that is real high performance?
See ANTIQUE CARS page 5
An Introduction
to Antique
Furniture
- Pg. 2
A Domestic Necessity
Kovels Korner
- Pg. 3
The Experts Answer
Questions
Travelin’ Harry
- Pg. 6
An Exclusive Fun Feature
2
www.AZantiquesOnline.com
Tips In Finding Antique Jewelry
By Amber Pierce
T
he age jewelry has to be to be classified as antique is not set in stone, but generally, vintage jewelry can be called antique jewelry at 100 years of age. The majority of antique jewelry that has survived the passage of time has been handed
down in families thus making the pieces far more valuable than their monetary price
suggests.
However, there still are a few places you can find antique jewelry. Now all you
need to do is learn how to determine the price and authenticity so you don’t get ripped
off.
There are jewelers that specialize in antique jewelry, and even though their prices
may be high, it is worth investigating to gain experience on the market value of various
pieces.
To be a serious buyer and collector of antique jewelry, you have to know your pieces
and what to look for. Otherwise you can easily be fooled into buying a modern piece
that just looks old. Unfortunately there is no quick way to acquire this knowledge.
Although you might want to look into adult classes at the college or adult education
center and see if they happen to offer a class on antique jewelry. Chances are you will
be on your own though. And in this case, experience is the best teacher.
Auction houses are the ideal place to begin your education on antique jewelry. By
seeing the pieces in person, reading the proper descriptions, and then finding out the
going price and demand for the pieces, you will gain a real world education in antique
jewelry that will make you a pro in no time.
Antique jewelry is often made from the highest quality of materials at a high level
of craftsmanship. This is actually what helps the piece to survive the ravages of time
and go on to become an antique piece of jewelry.
About the Author: Amber Pierce is a staff writer at
http://www.jewelry-digest.com and is an occasional contributor
to several other websites, including
http://www.family-review.com
Source: http://www.isnare.com
Permanent Link:
http://www.isnare.com/?aid=87918&ca=Arts+and+Crafts
Rare Finds:
I
n our travels we’ve unearthed some quality people we felt might offer extraordinary help for those special antique questions and problems.
You can find their contact info through a search on our website at
www.AZantiquesOnline.com
Gay Kingsley PhD
Art Restoration
Brian Quinn
Quinn Studios
Jim Friend
Fine Estate Appraisals
Balint
Echoes of Asia
Arizona Antiques
P.O. Box 16860, Phoenix, AZ 85011
602.809.4141 ( Advertising Rep)
Managing Editor - Bruce VanderJagt
Advertising - Brooke Demory
Contributors: Ralph & Terry Kovel
Arizona Antiques is published monthly and distributed free to Antique stores
and malls. All articles in this publication become the property of Arizona Antiques and cannot be reproduced without written permission. All contents of this
edition copyright by Arizona Antiques unless otherwise specified. Arizona Antiques is not responsble for errors in any advertising materials submitted by the
advertiser. Opions expressed by the authors of articles are not necessarily those of
Arizona Antiques.
Show managers, auctioneers, shop owners, collectors and all antique related
businesses are invited to include Arizona Antiques on their mailing lists for notices of upcoming special events and activities as well as special interest stories.
Photographs are especially welcome.
All rights Reserved
GENERAL DEADLINE for articles, advertising, payment, payment
notification regarding advertising, etc. is the 15th day of the month prior to
publication.
For advertising rates and information call Brooke Demory at 602.809.4141 or
e-mail at [email protected].
ARIZONA ANTIQUES • NOVEMBER 2007
An Introduction to
Antique Furniture
By Stephen Morgan
F
urniture has been a domestic necessity in all civilisations, ancient to modern
(and in-between) and has been produced in large quantities over the centuries.
Developed from humble beginnings whereby the furniture was constructed out
of simple designs by and large cut straight from one section of a tree to more advanced
skilfully constructed pieces made possible by more advanced construction and woodwork techniques.
Furniture has been a domestic necessity in all civilizations, ancient to modern
(and in-between) and has been produced in large quantities over the centuries. Developed from humble beginnings whereby the furniture was constructed out of simple
designs by and large cut straight from one section of a tree to more advanced skillfully
constructed pieces made possible by more advanced construction and woodwork techniques.
The basic requirements and categories are few. We all need something to sleep on,
chairs to sit on, tables and storage devices etc but it is the diversity within these subcategories that is enormous.
Chairs and furniture for sitting extends from the very simplest wooden stools,
settles and chairs to deeply upholstered sofas and settees. A wide variety of different
tables can be used for dining or other domestic usage, working, recreation purposes or
just for decoration.
Storage Furniture covers a multitude of varieties and uses from chests-of drawers, wardrobes, display cabinets and bookcases. Writing furniture includes bureaux,
secretaires and desks.
When we come to think of it, the wide variety of furniture is never more visible
than when we think of the wide variety of construction techniques used and the shape
and decoration. These last categories have quite often been more affected by a region or
country of origin, the maker and period of manufacture.
Much of the collectability of antique furniture comes from these very differences,
but nevertheless just as important (lest we forget) are the aesthetic qualities of the timber that is used in the manufacture.
Whether this is hardwood, softwood, solid or veneered, stained and polished
wooden furniture. If the furniture is well cared for it will increase in both desirability
and value.
Furniture: The Basics
Over the Centuries, furniture has developed from simple designs cut from one
basic section of a tree or bush, with joints held together by wooden pegs, to skilfully
constructed and designed pieces made using increasingly more skilful and masterful
techniques.
In many ways the 17th century was considered by many to be the golden era as far as
furniture was concerned. After all in the UK this was the era of Thomas Chippendale
See FURNITURE page 5
ARIZONA ANTIQUES • NOVEMBER 2007
www.AZantiquesOnline.com
B
3
Heisey toothpick holder, Beaded Swag pattern, ruby stain, engraved
ell collectors often specialize in one type of bell or sort their bells for display.
name, 1903, $55.
Best known to most of us is the school bell, a metal bell with a long wooden
Head vase, blond woman, bristle eyelashes, green cape, white flowers, Ucagco, 5 1/2
handle that was rung to bring children in from the playground. Decorative
inches, $110.
china and glass bells excite one group of collectors; silver and brass bells are
Donald Duck cart toy, Donald in front of cart, blue wagon in back, when pulled
wanted by others. Figural bells -- those shaped like a man, woman, animal,
Donald’s arms swing up and down, Fisher-Price, No. 544, $145.
bird or even a house -- are also popular. Collectors also look for Sarna
Popeye night-light, Popeye carrying ice cream cone, 1930s, $180.Moxie Soda
bells made in India and first sold in the United States in 1933. Often
string holder, milk glass panel reads “Drink Moxie, Clean, Safe,” bent-wire
these were sold on chains or ropes. The bells came with a booklet
bottom, 8 x 26 inches, $360.
that told the story of the brass bells. Sleigh bells used on horses
Hattie Carnegie perfume bottle, Hypnotic, woman’s head and shoulwere always made in sets attached to a leather strap. Another
der, stopper, gold enamel, 4 inches, $645.
unusual type of bell is what some collectors call a “signaling
Schoenhut pouty girl doll, brown painted eyes, light brown mohair
bell.” Old movies often show a new arrival at the front desk
wig, 1910-era dress, antique underwear, straw hat, 22 inches, $860.
of a hotel hitting the top of a metal dome-shaped bell to
Rococo Revival gilded bench, serpentine frame with scrolls, floral desummon the clerk. An elaborate version of this bell is found
sign, cabriole legs, stamped “J. Butler, 1876,” 16 x 36 x 20 inches, $2,115.
decorated with mother-of-pearl shells and gold-colored filiSalesman-sample stove, nickel-plated oval emblem in shape of ocean liner
gree, making it attractive enough to be used in a bedroom to call
on oven door, “The Great Majestic,” iron and steel, crank for coal shaker, 31 x
a servant. And, of course, there is the old bicycle bell that could be
18 inches, $6,325.
mounted on a handlebar and used to warn others a rider is nearby. If
The just-published full-color “Kovels’ Antiques & Collectibles Price List, 2008,”
you’re interested in bells and bell collecting, you might want to contact
40th edition, is your most accurate source for current prices. This newly
The American Bell Association (www.americanbell.org).
designed, large-size paperback has more than 2,500 color pictures and
Q: I’m trying to find information about a furniture com42,000 up-to-date prices for more than 700 categories of antiques and
pany named H. Pander & Zonen. I have some dining-room
collectibles. Hundreds of factory histories and marks and a report on
chairs labeled with that name. I think they’re from the early
the record prices of the year. Helpful sidebars and tips about buying,
1900s.
selling, collecting and preserving your treasures. Available at your local
A: Your chairs were made in the Netherlands by a
bookstore; online at www.Kovels.com; by phone at 800-571-1555; or
furniture company whose name translates to H. Pander &
send $27.95 plus $4.95 postage to Price Book, P.O. Box 22900, BeachSon. Harmen Pander and his son, Henk, ran the company.
wood, OH 44122.
In 1924 H. Pander & Son bought an aircraft-manufacturing
Visit www.Kovels.com to sign up and see more than 750,000
This
rolling-ball
hotel-lobby
bell
was
company and started making small airplanes. Throughout
used
to
call
the
desk
clerk.
The
6
1/2free
antiques and collectibles prices and to receive free weekly e-mail
the next decade, Pander became better known for making
inch-high bell was made about 1900 of
updates
with the latest information on the world of collecting.
airplanes, but appears to have continued to make furniture nickel over brass. It sold for $575 at an
online
Morphy
auction.
through the mid-1930s. Q: I have an old Feemster vegetable
slicer made in Brooklyn, Mich. The patent numbers are 227 (c) 2007 by Cowles Syndicate Inc.
ysteries are part of the attraction of antiques. Where did
3989 and 240 1669. I was told that it also was known as the
they come from? Who owned them before? What are they
“Prince William” slicer and taken off the market because too many people cut off their
worth? How were they used? Sometimes the answer is right
fingers with it. Any truth to the story? When was it made?
before your eyes. Silverware has carried inscriptions since the days of the Romans. In
Q: I have an old Feemster vegetable slicer made in Brooklyn, Mich. The patAmerica, the inscriptions on flatware usually are engraved initials or names. Someent numbers are 227 3989 and 240 1669. I was told that it also was known as the
times the inscription is “hidden” so it’s a secret message or a puzzle. In the 19th century,
“Prince William” slicer and taken off the market because too many people cut off
serving spoons were sometimes pierced with designs. The piercing acted as a sifter for
their fingers with it. Any truth to the story? When was it made?
sugar or a strainer to let extra liquid flow off. From 1893 to 1902, Reed & Barton of
A: Your vegetable slicer was patented in the 1940s. The M.E. Heuck Co. of MaTaunton, Mass., made pierced silver pieces with hidden messages in the piercing. The
son, Ohio, currently distributes a product called Feemster’s “original” vegetable slicer.
pierced silver design is a cut-out word written in elaborate script that makes it hard to
It now has a “safety” holder for the food.
decode. If you come across a serving piece with an elaborate pierced design, see if there
Q: I was just told that Mickey Rooney, the movie star, was named after an anis a word hidden in the pattern. Silver Magazine recently published an article by three
tique toy. Do you know anything about that story? I am a longtime Mickey Rooney
serious collectors who wrote about known pieces pierced with the words “Macaroni,”
fan and want the toy.
“Cracked Ice,” “Teaspoon” or “Crumb Knife.” Have you seen any others?
A: The story is about Mickey Rooney and a comic-strip toy. The Toonerville
Trolley, a funny electric street car, was featured in “Toonerville Folks,” a comic strip by
Q: Do you have any information on a line of furniture called Feudal Oak, proFontaine Fox that ran from about 1913 to 1955. Within a few years of its introduction,
duced by the Jamestown Lounge Co. of Jamestown, N.Y., in the 1920s and ‘30s?
the strip was often given the trolley’s name. Characters in the strip included Mickey
A: Jamestown Lounge Co. was founded in Jamestown in 1888 and went out of
(Himself) McGuire, Aunt Eppie Hogg and Powerful Katrinka. You still hear people
business in 1983. It was known for its high-quality furniture. Pieces often are found in
call someone a “powerful Katrinka” without knowing the origin of the name. Mickey
antiques shops and online sales. A Feudal Oak chair sells for about $50 to $140.
McGuire was a very popular character, so Joe Yule Jr., the child actor who played
Q: Can you explain the term “impossible bottles”?
McGuire in several silent movies, took that as his name. Fox sued the child and made
A: The description of a bottle as “impossible” is used by many bottle collectors
him change his name. He changed it to Mickey Rooney. There are several different
and can be found on the Internet. You have probably seen a ship in a bottle, the bestversions of the Toonerville Trolley toy and its riders. Most are windup toys made of
known form of an “impossible bottle.” Today there are old and new examples to be
lithographed tin. An example in good condition would sell for about $500 to $800.
found—bottles with arrows through the sides and bottles with small necks that hold
Q: A friend just got a modern carving that is supposedly amber. I just saw
a ski scene, a lock, a deck of cards or a large puzzle. Some, like a ship in a bottle, are
the same figure online in a blue material. Is there a process for making amber or a
assembled by making a clever model, inserting it in the bottle, then pulling strings
lookalike? Are there carvers who work with amber now? Is there much raw amber
to raise the masts and the sails. Others were made by putting something in a largearound?
mouthed bottle, then heating the glass to make the top smaller.
A: Modern carvings that look like they’re made from turquoise, amber, coral or
Q: Did McCoy make Little Red Riding Hood cookie jars, or is the one I have
some other material have been fooling tourists for years. They are still being made in
a knockoff?
China and sold everywhere. Most of them are made from either plastic or a soft stone
A: McCoy did not make a Little Red Riding Hood cookie jar. Hull patented
dyed to resemble a more precious material. Real, high-quality amber can still be found
the design in 1943 and made cookie-jar blanks. The cookie jars were decorated by
in Russia, northern Germany and other areas. But most of the inexpensive amber you
Regal/Royal China and Novelty Co. and distributed by Hull. Regal also made Little
see in gift shops is made from small pieces of amber that are treated to blend together
Red Riding Hood cookie jars. McCoy did not register its trademark, and the mark has
to make large pieces of amber. Our advice: Don’t buy an expensive carving if you don’t
been copied. Roger Jensen has been using a McCoy mark on new cookie jars and other
know the seller.
ceramics since 1990. Cookie jars that are the “real McCoy” have an incised mark, while
Tip: Always apply hair spray or perfume before you put on your jewelry. Both
newer jars have a raised mark.
products damage some metals and stones.
Q: My Hawaiian doll is marked “Plastic Molded Art Co.” on the back. She is
The Kovels answer as many questions as possible through the column. By send15 inches tall and is wearing a grass skirt and lei. I also have the original box. When
ing a letter with a question, you give full permission for use in the column or any
was she made?
other Kovel forum. Names and addresses will not be published. We cannot guarantee
A: Plastic Molded Arts made dolls and doll parts in New York City from 1949
the return of any photograph, but if a stamped envelope is included, we will try. The
to 1955. The dolls were inexpensive but resembled some more-expensive dolls. They
volume of mail makes personal answers or appraisals impossible. Write to Kovels,
were very popular.
Arizona Antiques, King Features Syndicate, 300 W. 57th St., 15th Floor, New York,
Q: I was told that new mahogany is not as good as the mahogany used in anNY 10019.
tique furniture. True?
CURRENT PRICES
A: The original dictionary definition of mahogany is a “hard, reddish-brown wood
Current prices are recorded from antiques shows, flea markets, sales andaucfrom the genus Swietenia mahagoni,” what we call West Indian or Cuban mahogany.
tions throughout the United States. Prices vary in different locations because of local
But today wood from other trees is referred to as mahogany if it resembles mahogany.
economic conditions.
See KOVELS page 6
M
4
www.AZantiquesOnline.com
ARIZONA ANTIQUES • NOVEMBER 2007
THE CALENDARS OF COCA-COLA
By Robert Reed
R
Here is a classic tale.
ecently sorting through the belongings of their late uncle, two women uncovered a large folder of vintage paper advertising. Near the bottom of the dusty
stack were three Coca-Cola calendars in excellent condition.
The two contacted an expert, and it turns out the colorful 1940’s calendars were
valued at hundreds of dollars each!
All things Coca-Cola are attracting a growing number of collectors, and with
nearly a century of production behind them, Coca-Cola calendars are among the favored of the Coke items.
“Calendars are certainly the most beautiful of all Coca-Cola collectibles,” declares
noted Coke historian, author and collector Allen Petretti. “Because of the beautiful
artwork and colors, and the rarity of many, (Coca-Cola) calendars have become the
most important pieces in my collection.”
Prior to the 1880’s, wall calendars for the masses were unheard of. They became
popular household items when advertising became the driving force behind their production and distribution.
By the beginning of the 1890’s calendars were seen as a natural premium for advertisers. They were relatively inexpensive when mass-produced. Major companies
could have them printed with the latest lithographic techniques and then distributed
to local merchants.
Sometimes the local retailer or distributor added his own personal stamp to the
calendar. Like almanacs, any information the calendars provided was bound to remain
on display in homes or businesses for the entire year.
Historical accounts say the first Coca-Cola calendar was produced in 1891. A
modest six and a half inches by nine inches, it was printed by the Clavert Lithography
Company of Atlanta, Georgia. Like so many that would follow, the calendar for Asa
Chandler and Company featured an attractive, wholesome young woman. The lady
wore a period dress and held a tennis racquet.
Over the years, the featured Coca-Cola woman would be holding other objects
including an umbrella, skis, ice skates, pen, fan and of course either a bottle or glass of
her favorite cola drink.
Throughout the 1890’s and into the 1900’s Coca-Cola continued to issue distinguished calendars highlighted with attractive but usually anonymous women.
The son of company founder Asa Chandler would write many years later that early
in the 20th century working with the Wolf and Company advertising agency of Philadelphia on new calendars was a major thing.
“It was always one of the high spots of the year when David Wolf would drive up
with several large portfolios containing proofs of the calendars and hangers for next
season,” he noted.
Starting in 1904 the Coca-Cola Company and its accompanying bottlers began
issuing slightly different calendars for the same year. For fountain sales locations the
lovely lady would be holding a glass—one which usually, but not always, had CocaCola inscribed on it. For bottlers the same woman would be holding a bottle instead
of a glass. For the most part models were “arranged” so that the original image needed
only slight alterations. But in some cases the reworking was much more extensiveIn the
opinion of some advanced Coke collectors, bottle-holding beauties beca more prevalbe
cause of the growing dominance of product distribution by bottlers.
Coca-Cola also sometimes turned from mere pretty faces to stars of entertainment
early in the 20th century. Metropolitan Opera star Lillian Norica was featured on
calendars starting in 1904. Another early “show biz” favorite was legendary actress
Hilda Clark.
Coca-Cola calendars were both appealing and striking in design. Increasingly
they were given a warm welcome on the walls of potential patrons. Their eye-catching
graphics hung in full view for a full 12 months, before time ultimately became their
worst enemy. As soon as the New Year rolled around, past calendars were immediately
replaced and shamelessly discarded.
The art on the calendars was so strong and compelling that it was typically used on
other Coca-Cola advertising that same year or soon afterwards.
Women with adoring names like Betty, Elaine and Constance became part of the
polished Coca-Cola calendar image during the teen years of the 20th century. By the
1920’s the calendar ladies were posing at activities, which included baseball games and
various social events. The company not only saw demand increase in all the conventional locations, but calendars were also being specifically allotted to public schools as
well. They became a regular sight at many schools in the United States for decades.
By the early 1930’s many Coca-Cola bottlers were issued their very own calendars
to meet the demand. Typically the bottler provided calendars relied on stock artwork
of landscapes or wildlife, which laced the artistry of the company provided calendars.
Often the bottlers added their own individual name and location.
Coca-Cola itself took a somewhat higher road in the 1930’s by calling upon leading artists of the time to contribute illustrations for their calendars. Norman Rockwell illustrated Huckleberry Finn in 1932 and used similar subjects for the company’s
calendars during that decade. Frederic Stanley did the village blacksmith in 1933.
Other notable illustrators for Coca-Cola during the 1930’s included N. C. Wyeth and
Bradshaw Crandall.
In many ways the period of the 1940’s was one of the most interesting in regard
to the production of Coca-Cola calendars. Starting in 1941 there were few more options for the calendar creators. That year the company began use of the term Coke as
a suitable substitute for the full name. The following year the company introduced the
Sprite boy into their advertising. When advertising sales of bottled Coke, Sprite wore
a bottle cap on his head. When promoting fountain sales Sprite wore a basic clerk’s
cap.
There were changes in overall design, too. Multi-fold Coke calendars were introduced in the 1940’s. Instead of large single sheets for each month, the calendars folded
into six sections, thus allowing for two months under each colorful illustration. At this
point, major outlets for the calendars were soda fountains and retail stores which sold
the beverage in bottles. The more visually charming calendars were better at catching
the eye of the consumer.
One marketplace exception once again was public schools. During the war years
of the 1940’s the company provided a series of school calendars called “Schools at War”.
The calendars featured battled scenes and carried slogans like, “Be a Lifesaver – Buy
War Bonds and Stamps.”
The era of beautiful women in Coca-Cola calendars continued well into the 1950’s.
However, other subjects and activities were also sometimes highlighted. Individual
bottling companies distributed a series of Boy Scout Calendars, which were illustrated
by Norman Rockwell. Others extended the brightly beaming Santa theme, which had
proven so popular in the early 1940’s.
Coke added “zest” to their advertising slogans in the 1950’s, and also made available “home” calendars. Such reference or informational issue were pleasant enough, but
lacked the measurements and sheer graphics of the larger wall calendars.
Today the higher valued Coke calendars are most always carefully framed when
found at leading antique locations and auctions.
Condition is an important factor. Best prices are paid for those clean, crisp, unmarked, untrimmed examples without any missing pages. A full pad means that all
sheets for the various months are present.
Recommended reading:
Classic Coca-Cola Calendars by Allen Petretti, Kraus Publications.
ARIZONA ANTIQUES • NOVEMBER 2007
www.AZantiquesOnline.com
5
FURNITURE
Continued from page 1
(1718-79). From the 17th Century onwards, many items of furniture became smaller
and lighter; seating became more upholstered for comfort. As wood turning skills developed and advanced, heavy, plain styles gave way to elegant designs with intricate
carving and veneering. In the late 17th Century gilding and lacquering were introduced
and the use of more exotic timbers and hardwoods began to increase with their import
from worldwide.
Early forms of furniture were primitive
items constructed quite often out of solid
pieces of timber. Though quite ornate at
times they were still fairly basic items that
lacked the finesse of later centuries and manufacturers.
Early forms of furniture were primitive
items constructed quite often out of solid
pieces of timber. Though quite ornate at
times they were still fairly basic items that
lacked the finesse of later centuries and manufacturers.
It was during the 17th and 18th Centuries that Furniture Construction as we know
more of it nowadays came into its own. With
the appearance of Thomas Chippendale
(1718-19) furniture manufacture became
more sophisticated in its design and execution with finely executed joints and a carcase
(body of the item of furniture) that was as well made as the façade.
However as with all things, the prohibitive cost of craftsmanship meant that by
the late 19th Century suppliers of Furniture were looking at techniques that could help
bring the cost of manufacture down to more manageable and cost efficient proportions
and hence the introduction of the earliest forms of machine assisted furniture.
For the purpose of this article we will be looking at Furniture from the following
aspects: Pegged Construction and Drawer Construction, and then in the next article a
detailed look at styles of two items of furniture, Chairs and Tables.
Pegged Construction
Until the early 18th Century, furniture was constructed by and large using a
“Pegged” or “Joined” technique using Mortise-and-Tenon joints held together held
together quite often just by wooden pegs or dowels and on very rare occasions, nails.
As you can imagine the earliest forms of pegs were quite primitive in their manufacture and acted more like wedges and tended to tighten the joints they were hammered into.
Quite often, as the years would go by these joints and pegs would find themselves
being pushed out of shape and this is quite often an indicator of firstly, how old a piece
is and secondly how well cared for an item of furniture is with the appearance of these
joints.
Drawer Construction
Early Drawers were characterized by the thick sides or linings which were usually
channeled so that they could run on bars or runners fixed to the sides of the carcase. As
you can imagine these developed quite considerably as the items of furniture or drawers
that they were designed to support became more and more delicate and sophisticated.
From the 17th Century onwards as with other forms of furniture, the practice of just
using simple pegs and runners all but died out to be replaced by more sophisticated
runners being placed beneath rather than at the sides of the drawers.
I am often asked as to why a study of furniture is so important? Will it solve the
Worlds ills, can it help solve World Poverty (yes if the stuff is manufactured in the right
places at the right costs but that is another matter)?
Well the answer primarily to all of the above questions is by and large no but as in
all these cases the situation is like anything that relates to the study of History. By only
correctly understanding where we have come from, how we arrived here and what we
did, can we begin to have any real hope of moving forward without repeating the same
mistakes over and over again.
As to how important furniture is? Well what else would you sit and write on?
Stephen Morgan is an independent journalist with an interest in Antiques (http://
www.absolutelyancient.com ) Collectables (http://www.definitelycollectable.com and
Memorabilia (http://www.absolutelyantique.us)
Check back for updates on the latest Antique and specialty shows and events
around the state of Arizona and California. As we’re notified of upcoming sales,
you’ll find them listed here.
Nov 9 - 10, 2007
Pomona
West Coast Historical Militaria Collectors Show
Fairplex, Huntington Beach
Nov 17, 2007
Nov 10, 2007
Nov 18, 2007
Garden Grove
Antique & Vintage Doll Show
Community Center
Nov 10-11, 2007
San Jose
Glass, China & Pottery Show
Santa Clara County Fairgrounds
Nov 10-11, 2007
San Juan Bautista
Monthly Antique Fair
Anaheim
Quality Stamp Show
Clarion Hotel
Nov 18, 2007
Hayward
Vintage Toys, Trains, Dolls, Coin-op & Collectibles
Show
Centennial Hall
Arcadia
San Gabriel Valley Vintage Postcard &
Paper Collectibles
Masonic Hall
Nov 18, 2007
Nov 11, 2007
Nov 24, 2007
San Mateo
Antique & Collectibles Faire
County Event Ctr.
Nov 11, 2007
Long Beach
Antique & Collectible Market
Veterans Stadium
Santa Rosa
Antiques & Collectibles Market
Sonoma CIty Fairgrounds
Nov 25, 2007
Sacramento
Antique Fair
Santa Monica
Outdoor Antique & Collectible Market
Santa Monica Airport
Nov 11, 2007
Pasadena
Rose Bowl Flea Market
Rose Bowl Stadium
Dec 8 - 9, 2007
November 16 - 18, 2007
Jan 5 - 6, 2008
Scottsdale
10th Southwest Nationals Car Show
West World of Scottsdale
Nov 16-18, 2007
Del Mar
Antique Show
San Diego County Fairgrounds
Nov 17 - 18, 2007
Phoenix Antique Show
Arizona State Fairgrounds
Nov 17-18, 2007
Concord
Vintage Paper Fair
Centre Concord
Phoenix Antique Show
Arizona State Fairgrounds
Yuma Antique Show
Yuma Convention Center
Jan 19 - 20, 2008
Phoenix Antique Market
Arizona State Fairgrounds
Jan 25 - 26, 2008
Phoenix
Greater Postcard & Paper Show
North Phoenix Baptist Church
Jan 26 - 27, 2008
Phoenix
17th Annual Papago Military Vehicle Show
National Guard Armory
Nov 17, 2007
Glendale
Five Star Stamps Shows
YWCA Regency Room
Arizona Antiques &
AZ antiquesOnline are
Your Best Advertising Value
Call or email Brooke Demory Today
602.809.4141
[email protected]
ANTIQUE CARS
Continued from page 1
They See it as an Investment
If you know the market, know a good mechanic or are a good mechanic yourself,
and are good at finding deals – finding, repairing, and reselling antique automobiles
can be an excellent investment – or speculation. Like any other form of investment,
there are cycles. There are times when the market is flooded with sellers and few buyers. And conversely, there are times when you have many buyers vying for the same
model of car. The key is knowing when to buy, when to sell, and what to look for.
Nostalgia
One of the reasons people love antique cars is that, for them, it brings back childhood or teenage memories. Maybe they had their first date in that car, or that is the
car the family when on annual picnics, or maybe it was the car to have when they were
young but they couldn’t afford it. The nostalgia market is worth billions of dollars and
those longing for the antique autos of their youth account for only a small piece of it.
Pursuing a love of antique autos is just another way of looking fondly and nostalgically back at our culture and remembering our country’s history.
Carl Phllips writes on antique car collector information. He is an author and regular contributor to www.antiquecarcollectors.com.
6
www.AZantiquesOnline.com
ARIZONA ANTIQUES • NOVEMBER 2007
KOVELS
Continued from page 3
Many of the old sources for Swietenia mahogany are gone. In the 18th century, mahogany came from the West Indies, Florida and Cuba. By the 19th century, the wood used
was from Honduras (Honduran
mahogany) and Africa (African mahogany). All of the wood
came from trees grown in rain
forests, and most countries today
do not cut wood from these areas.
Today the wood that comes from
Asia called Philippine mahogany
is from a different tree. It is not
a true mahogany. There are also
other woods with a grain similar to mahogany that are stained
Look carefully at this spoon. Starting at the top
darker to imitate mahogany.
left of the bowl, you can find the letter “M” overlapping an “A,” overlapping a “C,” until the word
Q: I need to know if Brook“Macaroni” can be seen. The jagged “teeth” at
park is an older manufacturer
the bottom of the bowl make it clear this was used
of Melmac ware or if it’s just
to serve slippery noodles. Picture credit: Silver
Magazine, July 2007
doing reproductions. The word
© 2007 by Cowles Syndicate Inc.
“Brookpark” is stamped on the
bottom of a speckled mixing
bowl I have. Can you help?
A: Brookpark dinnerware and kitchen wares were made by International Molded
Products of Cleveland from 1952 to 1962. The first dishes came in solid colors. Decaldecorated dinnerware was made in several designs beginning in 1956. Mixing bowls
were speckled. The value of a Brookpark mixing bowl today is $10 to $50, depending
on its size.
Tip: Put a rubber collar on the faucet spout over your kitchen sink. This might
save you from breaking a piece of glass or china you are washing.
The Kovels answer as many questions as possible through the column. By sending
a letter with a question, you give full permission for use in the column or any other
Kovel forum. Names and addresses will not be published. We cannot guarantee the
return of any photograph, but if a stamped envelope is included, we will try. The volume of mail makes personal answers or appraisals impossible. Write to Kovels, (name
of your newspaper), King Features Syndicate, 300 W. 57th St., 15th Floor, New York,
NY 10019.
CURRENT PRICES
Current prices are recorded from antiques shows, flea markets, sales and auctions
throughout the United States. Prices vary in different locations because of local economic conditions.
Hammond typewriter, Multiplex Model 26, three-row keyboard, oak bentwood
case, 14 inches, $140.
Coin-operated carnival machine, “Advice for Single Men,” tells a man how to win
love, fame or fortune, wood cabinet, glass front, electrified, 11 x 25 x 10 inches, $290.
Motorcycle game, cyclists on 1905 cycles, Milton Bradley, 9 inches, $425.
Martin Van Buren sewing box, center portrait, flowers, oval, 1840, 4 x 7 x 11
inches, $510.
“The Day the Earth Stood Still” lobby card, 1951, 11 x 14 inches, $575.
German bisque doll with three faces, socket head, sleeping, crying and laughing,
wood knob with ring handle on head changes faces, leather body, 1900, 15 inches,
$695.
Pieced quilt, Ocean Waves pattern, blocks of triangles in squares, cheddar yellow,
white and Prussian blue, cotton back, 1880, 66 x 83 inches, $750.
Spatterware cup and saucer, Morning Glory pattern, red, London shape, c. 1855,
$905.
English Regency-style chairs, mahogany, shaped crest rails, rear saber legs, turned
and fluted front legs, ram’s horn arm supports, c. 1820, set of six, $1,140.
Carnival glass plate, Wishbone pattern, amethyst, footed, 9 inches, $1,900.
“Kovels’ American Collectibles, 1900 to 2000” is here. It’s the newest and best
guide to your 20th-century treasures—everything from art pottery to kitchenware. It’s
filled with hundreds of color photographs, marks, lists of designers and manufacturers, and lots of information about collectibles. The collectibles of the 20th century are
explained in an entertaining, informative style. Read tips on care and dating items and
discover how to spot a good buy or avoid a bad one. And learn about hot new collectibles and what they’re worth so you can make wise, profitable decisions. The book covers pottery and porcelain, furniture, jewelry, silver, glass, toys, kitchen items, bottles,
dolls, prints and more. It’s about the household furnishings of the past century—what
they are, what they’re worth and how they were used. Available at your local bookstore;
online at www.Kovels.com; by phone at 800-571-1555; or send $27.95 plus $4.95 postage to Kovels, P.O. Box 22900, Beachwood, OH 44122.
Visit www.Kovels.com to sign up and see more than 750,000 free antiques and
collectibles prices and to receive free weekly e-mail updates with the latest information
on the world of collecting.
Antiques As Interiors
By Vandana
A
ntique collection has become an art form. Ever since man realized how valuable
old objects are, he has regarded antiques as priceless artifacts of the past. These
objects have survived many years intact and are now collected for personal
pleasure.
At home, most antique collectors display their collections flamboyantly. Not
only are they great sources of conversations, but they lend a characteristic appeal to
the place. Nowadays, these antiques have been transformed from objects of history
to antiques as interiors.
In using antiques as interiors, a person makes along term investment. Valuable
antiques like those obtained from the ruins of ancient civilizations can be very
expensive. And as time passes, these objects continually increase in value;
sometimes even twice or thrice as mush as its original price.
By choosing to use antiques as interiors, an individual brings to his home
a sense of history. It doesn’t matter whether these antiques came from private
auctions or from the attic of your ancestral home; they still carry with them stories
W
hile practicing my art of excursions and rummaging, I was sitting on a
beach one day by the waters of Vancouver, BC. It’s a beautiful place and one
that should not be missed for a variety of reasons. But this particular trip
was exceptionally rewarding since I took the extra time to wander the vast canyons of
antique laden streets to work my tourist magic on the shopkeepers.
I soon found there are as many antiques stores as there
are Canadians. I think you’re born owning a shop there
but for the antique loving community it’s a treasure trove
of fun and fulfillment. Being a collector of scales and all
that go with them, I was most pleased to find that US
Customs was going to get a workout going through my
luggage. An old candy scale (more on this in a minute),
an antique pharmacy scale with an original hand painted
porcelain plate and an old chemistry scale were soon
replacing sweaters and that extra pair of walking shoes in
my suitcase.
One thing I found all over Vancouver was the
overwhelming numbers of the most terrific, fun and
helpful people I’ve ever run into during my travels. Back Candy Scale - 1800’s. A
to the candy scale… it has the most graceful and curved little luck and planning
porcelain numbering markings but alas because of its age can net something rare
and fun!
there were some chips and missing gradations. It worked
great - just looked a bit worn, but I had to have it - no question - for this was to be the
most unique piece in my collection.
and memories of the distant past.
Deciding to use antiques as interiors can immediately change the personality
of your home. You must remember that in choosing antiques as interiors, they will
need a glass casing to protect them from molds and moisture that may damage
their delicate condition. These objects should be cleaned regularly and with care.
Some antique collectors hire professionals to clean theirs.
Looking for antiques as interiors, can be very time consuming and costly.
Whether by bidding at auctions or searching via the internet, extensive research
should be done. Depending on the budget, antiques as interiors can be as small
as a coin or as big as a table or cabinet. Choose an object that has been wellpreserved thru time and needs minimal restorations. Major restorations can really
damage your antique. Before finalizing a purchase, you can have your antique
authenticated. Certain carbon dating techniques are available that can accurately
estimate the age of your antique. This is a must for every collector since many
objects are being passed on as antiques when they are not.
The store owner then pulled out that dog eared book of personal resources and told
me to go down two blocks, turn left, up the alley, over a small bridge and through the
woods. Ya Da ya Da ya Da… and there I would find a most experienced craftsman who
could solve my new scale’s cosmetic problems. I made the trek a few blocks away and
found Winston’s. I went up the old stairs, found the genius who was about to transform
my find and we struck up a nice conversation.
He took my piece, said he could repair the porcelain, repaint the missing markings
and would be happy to ship it to me in a couple weeks. Sure, I’m from out of town - a
foreign country even, you don’t know my mother, you’re taking my money, and you’ll
call me in the morning. But there’s a lesson to be learned here. His shop bespoke his
craftsmanship. His demeanor was calm and relaxed. His own collections of the rare and
unusual combined with the recommendation of another well run shoppe were enough
to gain my trust.
Three weeks later without even a follow up phone call brought UPS and my very
nice looking scale.
My point to this? When I travel I look for three things. 1) a quiet place to relax and read,
2) some great food and wine and 3) the unusual, out of the way and fun antique shops to
help fill up the few empty spaces I have left in my home. I do some research before I go.
I plan a little adventure around the town usually hunting for those “antique areas” where
I can walk for blocks without a car. I talk to the owners - not just to buy things but to get
a feeling for the town, other dealers, fun finds and to do something everyone should be
doing… I ENJOY my time antiquing. I’m not just out looking for rare milk bottles that
once held the rum of a Caribbean pirate, but things that complete my current collection
and meeting the people who make it interesting so I can also learn.
After a day of scurrying around then I go and find somewhere like Bridges on
Granville Island where I can sit on the water, have a nice meal, a wonderful Chianti (no
fava beans), or maybe a great Long Island ice tea, and reflect on the soon to be shipped
new piece for my mantle. Life doesn’t get much better. But… we keep trying.
Mo lata…. Harry
Travelin’ Harry is an exclusive feature of Arizona Antiques and he lives by the motto
“Many a truth is said in jest.”
ARIZONA ANTIQUES • NOVEMBER 2007
www.AZantiquesOnline.com
7
Art Talk
ByAlan Bamberger
Q. What are the differences between private and public art dealers? Can I save
money buying from private dealers because they have less overhead? Are their selections any better or worse than public galleries? Please enlighten me.
A. No hard and fast rules distinguish from private art dealers. How and where
they choose to conduct business is most often a matter of personal preference. You can
find any type of art anywhere and at any time. Never rule out a potential resource for
art until you’ve personally viewed their stock.
Generalizations can sometimes be made, however. Public dealers often prefer the
challenges of selling to whoever happens to walk through their gallery doors.
They’re more inclined to focus on art that has widespread or commercial appeal
and is more easily understood by the general public. They tend to thrive on dealing
with people and enjoy the higher profiles that open locations provide. Public spaces
also allow dealers greater opportunities to meet artists for possible representation and
buy art from sellers who walk in off the street.
Private dealers, on the other hand, tend to prefer keeping more to themselves, enjoy the freedom of not having to keep regular business hours, and tend to be more selective in who they choose to do business with. They tend to deal more in art that is of not
that much interest to casual buyers who walk in off the street. They’re not particularly
commercial and often attract more sophisticated collectors who possess the education
and background that’s necessary to appreciate and understand their art.
Private dealers also tend to specialize in niche markets. Their art often appeals
to such small percentages of the collecting public that operating public spaces makes
little sense. Their selections may be extensive, but only within areas like Old Master
prints, 19th century photographs, or modernist drawings. Most all specialist collectors
know each other and know who deals in the art that they collect so it’s less important
that these dealers maintain high profiles. Newer collectors who don’t initially know all
the dealers eventually find out who they are, usually by word of mouth, and than make
their visits. As for saving money from private dealers, sometimes their art is more reasonably priced and sometimes it’s not. Certain specialist may charge more than public
galleries because of their superior knowledge, expertise, and the higher quality of their
art. Then again, dealers who operate privately in order to eliminate overhead sometimes sell at prices somewhat below those of retail galleries.
As a collector, you do have to be a little more careful shopping privately than you
do in public spaces. The variation in private dealers is larger than among public ones
for the simple reason that operating privately is easier than doing so publicly. Almost
anyone can hang out a shingle and appear to be a going concern at least for a short
period of time. Several recognized and reputable organizations of private dealers exist,
however, and their members are certainly OK to wok with.
Tips on evaluating private dealers (and public ones, for that matter):
• Look for signs that they’re well established and have been in business for
years.
• Find out whether they ever set up and sell at major respected art fairs or
antique shows.
• Get recommendations or referrals from other dealers and collectors who you
know and trust (this is always important, but more so for dealing with private
than public dealers.)
• Keep in mind that if you like to shop more on the wholesale level from less
established dealers than finding good buys in private settings may seem a little
easier and a little more exciting, but it’s also more risky.
Q. I’ve been collecting art for about 20 years and really enjoy my collection. My
kids are 5, 8, and 10 years old and I’m wondering how to transfer my love of collecting onto them. I’d like them to keep my collection entirely within the family when
their time comes to inherit it. I’d also like them to begin collecting on their own.
Any suggestions?
A. This is a classic “you can lead a horse to water” scenario.
Expose your kids to art. Visit museums. Take them to art openings, art galleries,
art auctions, artist studios, and out shopping for new pieces for your collection. Whether they develop a love for art as a result of the time you spend together is anyone’s guess.
Do your part to expose them to what’s available out there and be satisfied with that.
Once your kids get the hang of things and begin to develop their own preferences,
allow them some say in where you go and what you see. Let them tell you what art they
like the best and why. Give them occasional opportunities to plan out the itinerary
rather than you leading them. With them in control, let them spend as much time as
they want either looking at their favorites or asking questions about them – even if you
don’t happen to agree with their choices. That’s the best way to maximize their potential for developing a love and reverence for art and art collecting.
Regarding the ultimate disposition of your collection, don’t make too many demands or place too many restrictions on your kids. Don’t insist that they keep it together. That’s about the worst thing you can do and is a great way to turn them off to
art altogether. Taste in art is a highly personal thing – you like what you like, I like
what I like, your kids will grow up to like whatever they choose to like. Think about
how you would feel if you were forced to appreciate someone else’s art that you didn’t
really like.
Another point to keep in mind is that to many children, the furnishings and decorations that they grow up with have strong family connotations, both positive and
negative. They remind them of events that are not necessarily related to beauty, artistry,
or historic significance. The best portrait painting in your collection, for example may
signify nothing more than “that mean looking old man who stared at us every time we
walked into the den .”
Instead of trying to control the destinies of your children and your collection,
educate them about your art’s significance, the marketplace so that no matter whether
they decide to keep, sell or donate, they won’t be taken advantage of. When they’re old
enough to understand, provide them with appropriate contact information for dealers,
appraisers, conservators, institutions, and whoever else’s services they may need. Advise
them of your preferences as to what you’d like to see end up where, but don’t insist that
that’s the way things have to be.
Q. I’m an antique dealer. I bought a painting by a Western artist that dated
from the early 1920s and offered it to one of my better customers for what I thought
was a fair price. He said he would buy it so I put it on hold for him. Later that week
a vacationing collector visited my shop for the first time, happened to see the painting resting on the floor behind my desk, and asked me about it. I told him it was
sold, he asked how much I sold it for, I told him, and he promptly offered me $1500
more for it. What should I do? I can really use the money.
A. Let me ask you several questions first. If you could put a price tag on your reputation as a dealer, what would it be? If someone offered you $1500 to permanently stop
doing business with one of your better customers, would you take it? How would you
feel if someone sold something out from under you after you told them you would buy
it and he agreed that you could have it? Would you rather do business with people who
respect that what’s sold is sold or those who don’t?
Hopefully you can see that this incident is bigger than $1500. It involves the trust
and belief among your customers and your peers that you stand by your word to fulfill
your obligations. Sell yourself out at any point in your career and your reputation as a
fair and honest business person goes right down the drain. Offer your goods or services
to the highest bidder regardless of the consequences and you lose all credibility.
If you decided to sell the painting out from under your good customer, he would be
perfectly within his rights never to do business with you again. $1500 is a lot of money
for someone to lay in the palm of your hand, especially when you can really use it. If,
however, you compare that to the potential financial fallout over the years to come, not
only from the one damaged relationship, but also from other dealers and collectors who
will find out through the grapevine, you can easily end up losing far more than that.
The only possible way that you might consider selling the picture to the second
buyer for the additional $1500 would be to first tell the original buyer what happened,
ask whether he’s interested in selling, and offer to split the extra money 50-50. Perhaps
a free and clear $750 would be more enticing to him than owning the art. If he says
no, live with it and from now on, make sure the sold stuff is either placed out of sight
or clearly marked as sold. Keep in mind that the second collector did not exhibit much
in the way of ethics by tempting you with the higher offer. He apparently believes that
he can buy his way through life and ignore any negative consequences that might result
from his actions. Think long and hard before doing any business with him because the
next person he tries to take advantage of could be you.
Alan Bamberger’s new book “Art For All” published by Wallace Homestead Book
Co. is now available. For autographed copy send $14.95 plus $2.00 S&H to: Alan
Bamberger, 2510 Bush St., San Francisco, CA. 94115
8
www.AZantiquesOnline.com
ARIZONA ANTIQUES • NOVEMBER 2007