Collecting original movie posters and related memorabilia is gaining popularity in the United States and worldwide. The movie memorabilia areas on eBay are among their most popular, and a recent traffic report on Amazon.com showed that movie posters and related memorabilia was their #2 most popular area (behind Pokemon).

As coin and stamp collecting matured, independent third party grading services formed whose purpose was to accurately grade and certify the authenticity of an item. Today, even sports cards and comic books now have third party grading services. Dealers and collectors in these fields report that selling a rare non-certified baseball card or comic book is becoming a nearly-impossible task. Many collectors in these hobbies seek to have their collections certified by these grading services. This certification is what creates a liquid market for "sight unseen" collectibles, with the certified grade being a sort of insurance policy or guarantee of authenticity and condition.

All of these services are based on some version of a 10-point scale. An item rated as a 10 is the highest degree of perfection, often called Mint, and an item rated as a 1 is in horrible condition, virtually worthless except for extremely rare items.

Until the introduction of our 10-point system, the movie poster marketplace suffered from a lack of a standardized system for ranking of condition. Each movie poster merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." Lack of grading consistency among merchants is a major obstacle to growth in any hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

Our 10-point scale for rating movie posters is similar to systems already adopted in other hobbies such as coins, comic books, and sports cards. By using a set of standardized grading terms, we can ensure the growth of the movie memorabilia hobby now and in the future.

THE ART OF DESCRIPTION

When grading, one should remember the goal: to paint an accurate picture in the mind of the potential buyer of what to expect upon receipt of the item.

Of course, a picture is worth a thousand words, and a seller should always include high-quality images, but too frequently an image does not clearly show all flaws. This is when a good grading description becomes invaluable. The buyer relies on the seller's honesty and accuracy in disclosure. It is therefore incumbent upon the seller to do the best job possible.

This being said, writing grade descriptions is more of an art than a science. One can be too brief or too comprehensive, with equally bad effect. If too brief, the reader has an eerie feeling of uncertainty which causes a decision not to buy. Too much detail, and the opposite can happen: the buyer imagines the accumulation of flaws in the description of every tiny flaw and pictures an item that is in horrible shape, when actually this is not the case. Particularly in the higher grades, all flaws should be described (C8 or higher) in detail. Any obtrusive flaws should always be described, regardless of the grade.

The buyer must be satisfied with the condition of the item upon receipt. If not, the seller must be willing to give a refund to the buyer upon return of the item in the same condition as when sent.

MINT 10.0       (M 10.0)       (C10)

An extremely rare grade for all but the most recent items. Item is "as new" or in the same condition as the day it was made.

The C10 grade represents an extremely rare state of preservation and should NOT be used unless the item is absolutely perfect!

The item exhibits an amazing state of preservation with virtually no perceptible flaws of any kind, other than very minor flaws which may have occurred during the printing process.

Printing registration should be perfect. In many cases an otherwise "mint" poster may have printing flaws in the registration, or alignment, of colors causing one color to stand slightly offset from the others. This should be almost imperceptible otherwise reduce the grade to C9.

The folding/trimming process should not have resulted in any damage to the item of any kind. Sometimes a poster may have slight fold lines which occurred when the poster was put through the folding machine. If the fold line broke the ink, causing a faint white line, the item should not be graded C10.

No edge fraying or dents/impressions are allowed in this grade.

NEAR MINT 9.0       (NM 9.0)       (C9)

Item may be in "never-used" condition or may have been used in the theater, but was carefully preserved after use. The poster should appear to be in absolutely superb, unusually excellent condition. Older posters in this condition are extremely rare.

The following flaws are typical in this grade, but should be described:

• One tiny pinhole in each corner, or a maximum of 4 pinholes
• Slightly offset color registration
• Very slight compression marks (indentations) from movie theater use (IE: Clamped in a display)
• No fold wear or if fold wear is apparent it should be almost invisible. Fold lines should not be white. All original color must be present.

The following flaws are NOT acceptable in this grade:

• Creases, except fold creases occuring at the time of manufacture
• Tape or tape stain residue
• Minor holes
• Writing, (marker pen, biro etc.) on the front of the poster
• Foxing (light brownish spots that look almost rusty)
• Dampness staining
• Paint staining
• Soiling, i.e. mildew or dustiness
• Minor Fading
• Minor Paper loss (very small piece missing)
• Censor stamp/sticker
• Border chips
• Staple marks

VERY FINE TO NEAR MINT      (VFNM 8.5)       (C8.5)

The observer should note that all of the above variables (from the C9 description) also apply to the C8.5 grade, so we won't repeat them here. The accumulation of flaws push the item to this lower transition grade.

VERY FINE 8.0       (VF 8.0)       (C8)

Item may be in "never-used" condition or may have been used in the theater, but was carefully preserved after use.

If a C9 is almost like new, then a C8 is not as nearly perfect but still quite excellent.

Poster should be bright, supple, and clean.

An accumulation of more than two or three of the following flaws should cause the grader to assign a lower classification.

The following flaws are acceptable in this grade, but should be described:

• Tiny pinholes, up to a total of 10
• A border crease or corner crease, but should be a small one, and not more than one or two very small ones. Small is defined as less than one inch.
• Slightly offset color registration
• Very slight compression marks (indentations) from movie theater use (IE: Clamped in a display)
• Very slight fold wear, resulting in slight color loss at the folds; but, if the fold wear is such that a distracting white line results, then the item would not qualify for a C8 rating.
• One very small tape stain can be permitted but NO TAPE.
• Minor tears are allowed in this grade, but they should be MINOR, meaning less than 1/2 inch or 1 cm in length, and not more than two total tears on the item. Common areas for tears on posters are at the folds, especially the interior folds where the item may have been unfolded and then refolded. This kind of minor paper separation (tear) is common and is acceptable in a C8 grade notwithstanding other extenuating circumstances.
• Very slight edge or fold wrinkling or fraying is acceptable
• Writing, (pencil, light pen) on the front of the poster if it is very small and in an unobtrusive area (a mustache pencilled on Bogart's face would not qualify). Window cards may have writing in the appropriate area.
• Writing on the back of the poster which DOES NOT BLEED THROUGH is acceptable in this grade.
• Foxing (light brownish spots that look almost rusty) must be mentioned and is permissible only if very slight.
• Dampness staining can be permitted if it is a very small stain and is described.
• Very slight soiling, i.e. mildew or dustiness
• Censor stamp/sticker if it is very small and only if in an unobtrusive area of the item.
• A small border chip can be present if it is less than 1/2 inch square and is described in detail
• Staple marks if they are very slight and clean, not torn.

The following flaws are NOT acceptable in this grade:

• Tape
• Punch holes
• Heavy writing, (marker pen, biro etc.) on the front of the poster. The exception to this rule is window cards, which had a blank area at the top of the poster for writing show dates and which may have show dates written in heavy grease pencil and still quality for the C8 grade.
• Heavy writing, (marker pen, biro etc.) on the back of the poster which bleeds through
• Paint staining
• Heavy soiling, or dingy dirtiness
• Severe Fading
• Large Paper loss (one or more large pieces missing)
• Very large (more than 4" by 4") censor stamps or stickers
• Multiple Border chips
• Heavy and torn staple marks

FINE TO VERY FINE 7.0       (FVF 7.0)       (C7)

A nicely preserved item. An item in this grade has many of the same flaws as the higher C8 grade, but, because of a greater accumulation of flaws, can not be assigned the higher classification.

Whereas a C8 grade may only have two or three of the above flaws, a C7 may have 7 or 8 of them.

The following flaws are to be expected in this grade:

• Pinholes or staple holes
• Tape
• Creases
• Fold wear, resulting in slight color loss along the fold lines
• Fold holes: one or two very small ones
• Very minor fading
• Heavy writing, (marker pen, biro etc.) on the front of the poster. The exception to this rule is window cards, which had a blank area at the top of the poster for writing show dates and which may have show dates written in heavy grease pencil and still quality for the C8 grade.
• Writing, (marker pen, biro etc.) on the back of the poster which may slightly bleed through
• Minor dampness staining
• Minor soiling
• Paper loss (one or more pieces missing)
• Censor stamps or stickers
• Border chips

Please note that all of the above variables (from the C8 description) also apply to the C7 grade, so we won't repeat all of them here. Instead, we would like to make it clear to the reader that the C7 grade is a transition grade, still quite nice, but obviously used and unable to honestly be credited with the higher C8 grade because of an accumulation of flaws.

FINE 6.0       (FN 6.0)       (C6) A Window Card with the top border trimmed away should not be rated higher than C6, even if in otherwise C10 condition.

Several pinholes in each corner of the poster, from being displayed, is acceptable in this grade.Pinholes may be present in background, artwork or typography areas.

Tears in this grade should be no longer than 1 inch to 2 inches in length, and totalling not more than four tears. Minor fold tears are acceptable but should be described.

Light creasing is allowed in 1 or more of the four corners and/or along 1 or more of the four borders. Creasing may affect background, artwork or typography areas but should be described as such.

Minor writing and/or marks, i.e. (marker pen, biro etc.) on the front of the poster, is allowed in this grade, however, such writing should be described. Writing on the back of the poster, which DOES NOT BLEED THROUGH, is acceptable in this grade but once again should be described.

Posters which have been folded may have fold wear in this grade. This is acceptable, providing the wear does not significantly affect the eye appeal of the image, and has not damaged any print on the poster.

Poster should be bright and supple.

Poster should be the correct measurement for its size, and show no signs of it having been trimmed on any of its borders.

Minor edge fraying or wrinkling is allowed in this grade but should be described as such.

Minor surface paper loss is allowed in this grade if documented in the description.

The following flaws are typical in this grade, but should be documented and described:

• Numerous, countless pinholes
• Border creases which may extend into the image area of the poster
• Tape or tape stain residue
• Minor holes
• Writing, (marker pen, biro etc.) on the front of the poster
• Foxing (light brownish spots that look almost rusty)
• Dampness staining
• Paint staining
• Soiling, i.e. mildew or dustiness
• Minor Fading
• Minor Paper loss (very small piece missing)
• Censor stamp/sticker
• Border chips
• Staple marks

Linen/Paper backing can improve or eliminate the faults mentioned above. Cost of restoration will depend on the skill of the restorer, as well as the number of defects that need to be repaired.

VERY GOOD TO FINE 5.0      (VGFN 5.0)      (C5)

The observer should note that all of the above variables (from the C6 description) also apply to the C5 grade, so we won't repeat them here. The accumulation of flaws push the item to this lower transition grade.

VERY GOOD 4.0      (VG 4.0)       (C4)

Poster will exhibit any or all of the following flaws, which seller may or may not describe in detail:

• Numerous pinholes
• Numerous creases
• Numerous tears which should be noted
• Heavy creasing in all four corners/four borders, as well as in the background, artwork and typography areas of the poster.
• Writing and/or marks, in marker pen and/or biro, on the front and back of the poster
• Writing in bigger letters/numbers, such as displaying show times and/or dates
• Posters which will have been folded will have heavy fold wear in this grade.
• Fold separations or tears located anywhere on the poster
• Severe edge fraying or wrinkling
• Several holes, of from 1 to 2 inches in diameter each
• Pieces of tape and/or tape stain residue
• Severe damp staining
• Soiling or other signs of aging
• Severe to moderate fading over most areas of the poster
• Paper loss and/or small to medium portions of paper missing
• Censor stamps/stickers
• Trimmed borders
• Brittleness of paper

The poster shows many signs of wear and tear. This grade is applied to the average used poster or lobby card.

GOOD TO VERY GOOD 3.5      (GVG 3.5)      (C3.5)

The observer should note that all of the above variables (from the C4 description) also apply to the C3.5 grade. The accumulation of flaws push the item to this lower transition grade.

GOOD 3.0       (G 3.0)      (C3)

Countless pinholes all over of the poster, from being displayed, are expected in this grade. Pinholes may be scattered around borders, background, artwork and typography areas. Some/many of these pinholes may be larger and may have been ripped/torn when the poster was removed from display.

Tears in this grade are to be expected. Tears may have caused heavy surface paper loss.

Heavy creasing in all areas of the poster is normal in this grade.

Heavy writing and/or marks, in marker pen and/or biro, on the front of the poster, is expected in this grade. Heavy writing and/or marks may be over faces/bodies of actors/actresses, and may include defacement. Heavy writing and/or marks which bleed through from the back of the poster is expected in this grade. Heavy writing in bigger letters/numbers, such as displaying show times and/or dates on the poster will be found over any background/main artwork or typography areas.

Posters which will have been folded will exhibit heavy fold wear in this grade.

Any or all of the following flaws are normal for this grade:

• Severe fold separation, either on borders or interior fold lines (where the fold lines meet), with the separation being 2 inches or more in length. A heavy area of surface paper loss around these separations is normal.
• Heavy edge fraying or wrinkling.
• Holes of more than 1 inch in diameter. These holes could affect any area of the poster.
• Pieces of tape/tape stain residue, of more than 2 inches in length. These tape/tape stain residues may affect any area of the poster.
• Heavy foxing
• Heavy water staining over most or all of the poster
• Heavy paint staining over most or all of the poster
• Heavy soiling, i.e. mildew
• Severe fading over most or all of the poster
• Heavy paper surface loss and/or large portions of paper missing, affecting any area of the poster.
• Poster may have censor stamps/stickers, and these may affect any area of the poster.
• There may be complete fold separation, along all/most of 1, or more, vertical/horizontal fold lines, causing the poster to be in 1 or more pieces.
• Poster may have fragile, brittle paper, which may break and come apart, when opening/closing the poster. Careful handling will be needed.
• Paper loss from borders
• Staple marks
• Poster may have one or all four borders trimmed

FAIR 2.0       (FR 2.0)      (C2)

An extremely worn and torn example, heavily used, not preserved.

POOR 1.0      (P 1.0)      (C1)

Item will exhibit some or all of the defects described in C2, but to a greater degree. Only the rarest of items will have any value in this grade.

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Warren's Movie Poster Price Guide

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Free Movie Poster Appraisal

When it comes to old movie posters, many people wonder if those colorful, nostalgic pieces of art could be worth something significant. The short answer? It depends. While the rarest of the rare can indeed fetch a small fortune, the vast majority of movie posters have little monetary value. Let’s explore why this is the case and what you should consider when evaluating your collection.

What Do We Mean by "Movie Posters"?

To clarify, when we talk about movie posters, we’re referring to authentic theatrical posters displayed in movie theaters to promote films—not the mass-produced reproductions sold by big-box retailers like Walmart, Amazon, or your local department store. Authentic movie posters were typically printed in limited quantities, meant for distribution to theaters, and were often returned or discarded after use. This exclusivity gives them their potential value, but only under specific circumstances.

The Value of Authentic Theatrical Posters

The value of a movie poster hinges on a few key factors:

1. Rarity: The fewer copies of a poster that exist, the more valuable it is. Posters for lesser-known films or limited-run releases often command higher prices.


Rare Poster printed before George Lucas changed the name of the movie to 'Return of the Jedi'.

2. Condition: Collectors value posters in pristine condition. Tears, folds, fading, and pinholes from theater displays can significantly reduce their worth.


Fold Lines can lower the value of a poster.

3. Film Popularity: Posters for iconic films—especially cult classics, blockbuster hits, or films with a devoted fanbase—tend to hold more value. Think original Star Wars, Casablanca, or Jaws posters.


Original 1977 Star Wars Movie Poster.

4. Artist and Design: Posters designed by notable artists or featuring exceptional artwork can drive up their value. Saul Bass and Drew Struzan, for example, are celebrated names in poster art.


Saul Bass The Shining Movie Poster.

5. Provenance: A poster’s history can add to its allure. Posters owned by prominent collectors or those with a clear, traceable origin are often more desirable.


Original Metropolis Poster purchased by Leonardo DiCaprio for $690,000.

Why Most Posters Have Limited Value

Despite the romantic idea of striking gold with your childhood collection, the truth is that most movie posters lack significant value. Why? Mass production and wide availability are the main culprits. Many posters were printed in large quantities for blockbuster films, making them less rare and therefore less valuable. Additionally, modern reproductions have flooded the market, which can confuse potential buyers and dilute interest in originals.

How to Assess the Value of Your Posters

If you suspect your poster might be a gem, it’s essential to seek out an expert appraisal. A professional can help authenticate your item, evaluate its condition, and determine its rarity and desirability in the current market.

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At iGuide.net, we specialize in providing accurate appraisals based on real sales data. Whether it’s a vintage Gone with the Wind poster or a quirky horror film one-sheet, our team of experts can guide you through the process and help you understand its true worth.

If you're curious about the value of your movie posters or other collectibles, visit iguide.net for a professional appraisal. Knowing the real market value can help you decide whether to hold on to your treasures or turn them into a rewarding payday.

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Remember, understanding your collectibles starts with expert insight. Don’t leave it to chance—consult with an appraiser and make the most of your movie poster collection!

Morgan silver dollars, minted from 1878 to 1904 and then again in 1921, are among the most popular and collected coins in the United States. Their value is determined by several factors, including mint year, mint mark, condition, and rarity. Here are some of the rarest and most valuable Morgan silver dollars:

1889-CC The Carson City mint produced fewer Morgan dollars than any other mint, and the 1889-CC is particularly rare, especially in higher grades. It's one of the most sought-after coins by collectors.

1895 "Proof Only" Got one of these? It is worth a small fortune. The 1895 Morgan dollar is known as the "King of the Morgan Dollars" because no business strike coins are known to exist, only proofs. With a reported mintage of only 880 proofs, it's a rare find for any collector.

1884-S The 1884-S is another Morgan dollar that, while not rare in terms of overall mintage, is extremely rare in higher grades. Most of the mintage was circulated, leaving few in uncirculated condition.

1886-O While not as rare in terms of mintage numbers, the 1886-O Morgan dollar is incredibly scarce in high grades. Most were either heavily circulated or poorly struck, making Mint State examples rare.

1892-S While the 1892-S Morgan dollar had a relatively large mintage, high-grade examples are exceedingly rare. Most were circulated heavily, making high-grade specimens a rarity.

1893-OThe New Orleans mint produced fewer Morgan dollars in 1893, making the 1893-O another rare and valuable coin, particularly in higher grades.

1893-S The 1893-S Morgan dollar is the key date of the series, with the lowest mintage of any regular issue at only 100,000 coins. High-grade examples are exceedingly rare and highly prized by collectors.

1894 With one of the lowest mintages for a Morgan dollar at the Philadelphia mint, the 1894 is scarce in all grades and especially rare in higher grades. 1901 The 1901 Morgan dollar from the Philadelphia mint, especially in high grades, is considered rare due to the low survival rate of high-quality coins.

The value of these rare Morgan dollars can vary greatly depending on their condition and the current market demand. Coins graded by reputable grading services in uncirculated condition (MS) can fetch premium prices, often reaching into the tens or even hundreds of thousands of dollars for the rarest in high grades. It's essential for collectors to consult up-to-date price guides or seek appraisals from trusted numismatic professionals to determine the current market value of these rare coins.

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Determining the manufacture date of a Zippo lighter is vital to determining its value. Each Zippo lighter carries distinct markings that reveal its manufacturing date. This guide will help you identify your Zippo’s age by deciphering the date codes, patent numbers, trademarks, and other features that have changed over the years.

Zippo Regular Lighter Identification Codes

1. Understanding the Basics of Zippo Date Codes

From 1933 to the mid-1950s, the word ZIPPO was stamped on the bottom of the lighter in BLOCK letters. Starting in the 1950s, Zippo began to use date codes to track production, which allows collectors to determine the manufacturing period.

Block Letter Zippo Logo

2. Early Zippos (1933–1954): Pre-Date Code Era

Zippos from 1933 to 1954 always have the patent number 2032695 stamped on the bottom of the lighter, along with the old BLOCK LETTER ZIPPO stamp. Exact dating in this era is difficult as these Zippos lack date codes. The bottom stamps evolved slightly, with changes in font and positioning.

1942 to 1946: Only Black Crackle Zippos were produced from 1942 to 1946 due to World War II. These models have a patent number of 203695 on the bottom, marking them as wartime lighters.

3. Transition Period (1951–1957)

During this period, Zippos have a patent number of 2517191 stamped on the bottom. Between 1955 and 1957, the Zippo script logo began appearing alongside the BLOCK LETTER logo, creating an overlap. Exact dating is challenging during these years due to a gradual transition.

Zippo Logo Transition from Block to Script

4. Date Codes (1958–1986)

Starting in 1958, Zippo implemented a precise system of date codes using symbols to represent specific years:

1958 - **** [logo] ****
1959 - **** [logo] ***
1960 - *** [logo] ***
1961 - *** [logo] **
1962 - ** [logo] **
1963 - ** [logo] *
1964 - * [logo] *
1965 - * [logo]
1966 - |||| [logo] ||||
1967 - |||| [logo] |||
1968 - ||| [logo] |||
1969 - ||| [logo] ||
1970 - || [logo] ||
1971 - || [logo] |
1972 - | [logo] |
1973 - | [logo]
1974 - //// [logo] ////
1975 - //// [logo] ///
1976 - /// [logo] ///
1977 - /// [logo] //
1978 - // [logo] //
1979 - / [logo] // OR // [logo] / (both exist)
1980 - / [logo] /
1981 - / [logo]
1982 - \\\\ [logo] \\\\
1983 - \\\\ [logo] \\\
1984 - \\\ [logo] \\\
1985 - \\\ [logo] \\
1986 - \\ [logo] \\

Post 1978 Zippo Logo

5. Modern Date Codes (1986–2000)

Beginning in 1986, Zippo implemented a coding system using Roman numerals to indicate the year of manufacture, alongside a letter for the month. The letter A to L represents the month (A = January, B = February, etc.). Roman numerals are used for the year as follows:

1986 - II
1987 - III
1988 - IV
1989 - V
1990 - VI
1991 - VII
1992 - VIII
1993 - IX
1994 - X
1995 - XI
1996 - XII
1997 - XIII
1998 - XIV
1999 - XV
2000 - XVI

6. Current Date Codes (2001–Present)

Since 2001, Zippo has used a two-digit number to represent the year of manufacture, along with the same month-coding letters. For example, a lighter with “01” was made in 2001. This system continues today.

2001 -- 01
2002 -- 02
2003 -- 03
2004 -- 04
2005 -- 05
2006 -- 06
2007 -- 07
2008 -- 08
2009 -- 09
2010 -- 10

Additional Clues and Unique Markings

Special editions, commemorative models, or unique design features can help further identify Zippo lighters:

Patent Numbers: Early models display patent numbers correlating to specific years. For example, “2032695” was used pre-1954, while “2517191” appeared post-1951.
Bottom Stamps for Special Editions: Anniversary models and event-specific Zippos often have unique stamps.

Care Tips for Collectible Zippos

To preserve your Zippo’s value, avoid polishing, store it properly, and limit fuel exposure for vintage models.

In Summary

Dating a Zippo lighter requires careful attention to detail and familiarity with changing codes. Using this guide, along with Zippo’s official resources, can help you accurately date and appreciate your collectible Zippo.

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Find the Age of your Hummel using this Guide

To find out how old your Hummel figurine is, look on the underside and find the Goebel trademark stamp, usually imprinted in blue. This is the official trademark stamp of Goebel. It will be found on all authentic Hummel figurines.

The look of the trademark has varied since 1935. Most of the known marks used over the years are shown here. Nevertheless, from time to time, an undocumented variation may surface.

Compare the trademark on the base of your Hummel to the date stamp chart below.

• 1935-1949 aka TMK 1
• 1950-1956 aka TMK 2
• 1957-1963 aka TMK 3
• 1964-1971 aka TMK 4
• 1972-1978 aka TMK 5
• 1979-1990 aka TMK 6
• 1991-1999 aka TMK 7
• 2000-Present aka TMK 8

Collectors use the TMK designations to indicate which trademark is stamped on the base of the figurine they have. This information, if you can supply it to us, is helpful in appraising and making an offer for your item.

History and Explanation of Marks and Symbols

The "wide-crown-WG" trademark was used on the first M.I. Hummel figurines produced in 1935. On the earliest figurines it was incised on the bottom of the base with the "M.I. Hummel" signature on the top or side of the base. Between 1935 and 1955, the company occasionally used a © mark on the side or top of the base of some models. It is seen occasionally to the right of the "M.I. Hummel" signature. The "crown" appears either incised or stamped. When both are used on the same piece it is known as a "double crown" mark.

From 1946 through 1948 it was necessary to add the stamped words "Made in the U.S. Zone Germany." This mark was used within various types of frames or without a frame, underglazed or stamped over the glaze in black ink.

In 1950, four years after Sister M.I. Hummel's death, Goebel wished in some way to pay tribute to her fine artistry. They radically changed the trademark, instituting the use of a bee flying high with a "V". (Hummel means bumble bee in German and the V stands for Verkaufsgesellschaft or distribution company). This mark, known as the full bee trademark, was used until 1955 and appeared --- sometimes both incised and under-glazed---in black or blue and occasionally in green or magenta. In addition, the stamp "Germany" and later "West Germany" appeared. A (R) appearing beside the trademark stands for "Registered".

Sometimes the molds were produced with a lightly incised circle on the bottom of the base in which the trademark was centered. It has no significance other than as a target for the location of the decal. Some current production figurines still have this incised circle even though it is no longer used for that purpose.

Always searching for a mark that would blend aesthetics with professionalism, the company continued to modify the trademark. In 1956, the company---still using the bee inside the V---made the bee smaller, with its wings parallel with the top of the V. In 1957, the bee remained, although once again rising slightly above the V. In 1958, the bee was smaller still and it flew deep within the V, reflecting the changing trends in modern design. The year 1959 saw the beginning of stylization and the wings of the bee became sharply angular.

In 1960, the completely stylized bee with V mark came into use, appearing with "W. Germany". It was used in one form or another until 1979. In addition to its appearance with "W. Germany" to the right (1960-1963), it appeared above the "West Germany" (1960-1972) and to the left of the "three line mark" (mid-1960s to 1972). The three line mark was used intermittently and sometimes concurrently with the small stylized 1960-1972 mark. It was the most prominent trademark in use prior to the "Goebel bee" trademark.

It became apparent that the public was equating the "V and Bee" mark only with M.I. Hummel items, not realizing that the mark included the full scope of Goebel products. It was decided to experiment further with marks. In 1972, satisfied that it now had a mark designating a quality Goebel product, the company began using a printed "Goebel" with the stylized bee poised between the letters "b" and "e".

Since 1976, the Goebel trademark on Hummel figurines has been imprinted on top of the glaze (called a "decal." It is possible for two figurines on the primary market to have differing decals.

In 1979, the stylized bee was dropped and only the name Goebel appears. The year of production will be on the base next to the initials of the chief decorator.

In 1991, the W. (West) was dropped, with only the word "Germany" remaining, since Germany is once again a united country. The original "crown" has been added to the (TM7) trademark.

In the year 2000, the beginning of a new Millennium, the trademark was once again changed. The "bumblebee" symbol, to honor the memory of Sister Maria Innocentia Hummel, was reinstated to the (TM8) current trademark.

The information in this article is a concise documentation of all W. Goebel trademarks used on "M.I. Hummel" figurines. Yet, it is always possible that a few undocumented variations may exist.

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Mad magazines from the 1950s and 1960s can indeed be valuable, especially if they are in like new condition. The value of these magazines varies widely depending on factors such as rarity, condition, and specific issues. For example, the first issue of Mad as a comic book and the first issue of the magazine format are particularly valuable. Special issues, complete collections, and autographed copies also tend to have higher value.

History of Mad Magazine

Mad Magazine is an American satirical magazine that began as a comic book published by EC (Entertaining Comics) in August 1952. It was founded by editor Harvey Kurtzman and publisher William Gaines. The magazine transitioned from a comic book to a black-and-white magazine format in 1955.

Mad quickly became one of the best-selling humor magazines in the United States, known for its irreverent and anti-establishment humor. It inspired numerous imitators and became a significant part of American pop culture. The magazine is famous for its mascot, Alfred E. Neuman, and popular features like Spy vs. Spy.

Mad Magazine's influence extended beyond its pages, impacting various forms of entertainment and media. It developed a readership of over 2,000,000 in the 1970s and became known for its brilliant satirical pieces that parodied other comics, newspaper comic strips, films, and other parts of entertainment culture.

If you have any early Mad Magazines, especially from the 1950s and 1960s, they could be valuable collectibles. A volume 1 #1 from 1952 in mint condition is worth thousands of dollars. It's worth getting them appraised to determine their exact value.

Some classic Mad covers

Mad Magazine has had many iconic covers over the years. Here are some of the most memorable ones:
Issue #1 (1952): The very first issue of Mad Magazine, which was originally a comic book, is highly sought after by collectors.

Issue #21 (1955): This issue marked the transition from a comic book to a magazine format. It features Alfred E. Neuman on the cover for the first time.

Issue #30 (1956): Known for its parody of the movie “King Kong,” this cover is a classic example of Mad’s satirical style.

Issue #60 (1961): This cover features Alfred E. Neuman as a presidential candidate with the slogan “What – Me Worry?” It became one of the most iconic images associated with Mad Magazine.

Issue #166 (1974): This cover parodies the movie “Jaws” and is one of the most recognizable covers from the 1970s.

Issue #233 (1982): Featuring a parody of the movie “E.T. the Extra-Terrestrial,” this cover is a favorite among fans of both the magazine and the film.

Issue #350 (1996): This cover celebrates Mad Magazine’s 350th issue with a collage of past covers, showcasing the magazine’s long history.

Issue #400 (2000): This milestone issue features Alfred E. Neuman in a futuristic setting, celebrating the magazine’s longevity.

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If you have what you think may be a rare magazine, it would be wise to get a free iGuide Appraisal Report

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Noritake Tahoe fine china can be worth something, especially if it is in like new (A+) condition and part of a complete set. The bad news is the slightest chip, flake, ding or crack renders a piece worthless. Here are some key points:
On average, regular Noritake china pieces can retail for between $2 – $8 per piece.

A complete set of Noritake Tahoe fine china, including 12 dinner plates, 12 salad plates, 12 bread and butter plates, 12 cups, 12 saucers, a sugar bowl, a creamer, an oval platter, an oval serving bowl, and a gravy boat with an attached saucer, can be valued at around $940.

The value of Noritake china can vary based on its condition, rarity, and demand. Researching current market values on online auction sites or consulting with an antiques dealer or appraiser can give you a better idea of what your specific pieces are worth.

If you have a specific set or pieces, it might be worth getting them appraised.

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Recommended

(1) How Much Is My Noritake China Worth (One rare Set Sold For $16,250) https://www.vipartfair.org/noritake-china-value/.
(2) A Guide to Estimating the Value of Your Noritake China. https://www.ask.com/culture/guide-estimating-value-noritake-china.
(3) 15 Most Valuable Noritake China Patterns: Complete Value Guide. https://www.txantiquemall.com/noritake-china-value/.
(4) Guide to Noritake China Value and Patterns - Invaluable.com. https://www.invaluable.com/blog/noritake-china-value/.

In Conclusion

If you have any early Noritake china, especially from the early years, it could be valuable.

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The iGuide Supply Grade is a ranking system for rating the scarcity of personal property including art, antiques, collectibles, and other real assets. First developed in October 1998 for Warren's Movie Poster Price Guide, it's a letter grade from A+ to F. The grade represents our opinion of the rarity or relative availability in the marketplace after applying criteria in our supply ranking analysis. The methodology involves evaluating and ranking supply levels without considering market demand. It focuses solely on the availability of an item relative to other items in the target market. We consider factors like sales velocity, customer interest, market trends, and price fluctuations. We utilize real sales data, tracking price changes and sales volume to assess whether an item is in high, moderate, or low supply based on actual market behavior. Our goal is to help market participants gauge rarity in order to make better buying, pricing, and marketing decisions.

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A+

10 on a scale of 1 to 10.
(extremely rare) Unique or less than 5 known to exist.

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A

9 on a scale of 1 to 10.
(very rare) Rarely available for purchase, once a decade.

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A-

8 on a scale of 1 to 10.
(rare)

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B+

7 on a scale of 1 to 10.
(very scarce) Hard to find. Not readily available, requires effort to obtain.

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B

6 on a scale of 1 to 10.
(scarce) Relatively uncommon, but can be found with some searching.

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B-

5 on a scale of 1 to 10.
(somewhat scarce)

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C

4 on a scale of 1 to 10.
(common) Numerous examples available for purchase every day.

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C-

3 on a scale of 1 to 10.
(very common) Common and with little if any demand

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D

2 on a scale of 1 to 10.
(extremely common)

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F

1 on a scale of 1 to 10.
(utterly common) Endless supply, 0 demand. Trash, junk, swill, give to Goodwill

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There are many different systems in economics for rating the supply. Here are a few of them:
Diffusion of Innovation (DOI) Curve: This model ranks demand by adoption stages: Innovators, Early Adopters, Early Majority, Late Majority, and Laggards.

S-curve Model: Describes product adoption in terms of low initial growth, followed by rapid growth, and then a plateau. This helps track demand over time.

Sales Data-Based Rating Systems

Sell-through Rate (STR): Measures the proportion of inventory sold within a specific period. Higher STR means stronger demand.

Weeks of Supply (WOS): Measures how long current stock will last based on current sales rates.

Stock Turnover Rate: How quickly stock is replenished and sold, indicating high or low demand.

Consumer Sentiment Indicators

Net Promoter Score (NPS): While originally used for customer satisfaction, a high NPS can also signal strong demand for products that people are likely to recommend.

Search Engine Data & Social Media Trends: The number of searches or mentions on platforms like Google, Twitter, or Instagram is often used to predict demand surges.

Demand Forecasting Models

Quantitative Forecasting: Uses historical data to predict future demand, such as time series analysis or regression models.

Qualitative Forecasting: Relies on expert opinion, market research, and surveys to gauge demand.

Retail-Specific Ratings

ABC Analysis: Ranks products based on sales volume. Category A items have the highest demand, B moderate demand, and C the lowest.

Pareto Analysis (80/20 Rule): Identifies that 20% of products often generate 80% of demand and revenue.

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Funko Pops are everywhere these days. With their signature big heads, beady eyes, and adorable chibi-style bodies, they've become a pop culture phenomenon. But how did these little figures rise to such fame? Let's take a trip down memory lane and explore the surprising history of Funko Pops!

From Wacky Wobblers to Vinyl Victory (1998-2010)

The story starts in 1998 with Mike Becker, a toy enthusiast, founding Funko. Back then, their focus was on nostalgic, low-tech toys. Their first creation? A bobblehead of the Big Boy restaurant mascot! Funko faced some early struggles, but a 2005 leadership change and the success of "Austin Powers Wacky Wobblers" helped them gain traction.

However, the turning point came in 2010. Funko debuted the "Pop! Vinyl" line at San Diego Comic-Con, introducing the world to the now-iconic design. These figures, featuring popular characters with a stylized look, were a hit with collectors.

Pop Culture Conquest (2010-Present)

The success of the Pop! Vinyl line was explosive. Funko secured licenses with major companies like Disney, Marvel, and Warner Bros., allowing them to create Pops of beloved characters from movies, TV shows, video games, and more. The sheer variety, catering to diverse fandoms, was a key factor in their rise.

Limited edition Pops, featuring unique designs or chase variants, added a layer of excitement for collectors. The hunt for rare Pops fueled a thriving secondary market, further boosting their popularity.

Funko's Enduring Appeal

So, what keeps Funko Pops relevant? There are several reasons:

• Accessibility: They're affordable compared to other collectibles, making them appealing to a wide audience.
• Cuteness: Their adorable design makes them irresistible to many collectors.
• Variety: With countless characters and variations, there's a Pop for almost everyone's fandom.
• Collectibility: Limited editions and chase variants create a sense of exclusivity and encourage collecting.

The Future of Funko Pops

Funko shows no signs of slowing down. They continue to expand their licenses, introduce new figure lines, and embrace pop culture trends. Whether you're a die-hard collector or a casual fan, Funko Pops are sure to remain a playful and ever-present reminder of our favorite pop culture moments.

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The iGuide Demand Grade is a ranking system for rating market demand of personal property including art, antiques, collectibles, and other real assets. First developed in October 1998 for Warren's Movie Poster Price Guide, it's a letter grade from A+ to F. The grade represents our opinion of market demand after applying criteria in our demand ranking analysis. The methodology involves evaluating and ranking demand levels without considering price elasticity (the degree to which a change in price influences demand). It focuses solely on the popularity and desirability of an item among market participants. We consider factors like sales velocity, customer interest, market trends, and price fluctuations. We utilize real sales data, tracking price changes and sales volume to assess whether an item is in high, moderate, or low demand based on actual market behavior. Our goal is to help market participants gauge current demand and make better buying, pricing, and marketing decisions.

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A+

10 on a scale of 1 to 10.
(extremely high demand)
Sells within 1 day of hitting the market.

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A

9 on a scale of 1 to 10.
(very high)
2-5 days to sell.

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A-

8 on a scale of 1 to 10.
(high)
6-10 days to sell.

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B+

7 on a scale of 1 to 10.
(strong)
11-29 days to sell. On a scale of 1 to 10, it is a 7.

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B

6 on a scale of 1 to 10.
(above average)
30-60 days to sell.

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B-

5 on a scale of 1 to 10.
(average)
61-90 days to sell.

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C+

4 on a scale of 1 to 10.
(below average)
91-120 days.

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C

3 on a scale of 1 to 10.
(low)
181-365 days to sell.

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C-

2 on a scale of 1 to 10.
(very low)
366-730 days to sell.

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D

1 on a scale of 1 to 10.
(extremely low)
730+ days to sell.

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F

0 on a scale of 1 to 10.
(no demand)
No demand at any price. Worthless. Write off.

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There are many different systems in economics for rating the demand of products. Here are a few of them:
Diffusion of Innovation (DOI) Curve: This model ranks demand by adoption stages: Innovators, Early Adopters, Early Majority, Late Majority, and Laggards.

S-curve Model: Describes product adoption in terms of low initial growth, followed by rapid growth, and then a plateau. This helps track demand over time.

Sales Data-Based Rating Systems

Sell-through Rate (STR): Measures the proportion of inventory sold within a specific period. Higher STR means stronger demand.

Weeks of Supply (WOS): Measures how long current stock will last based on current sales rates.

Stock Turnover Rate: How quickly stock is replenished and sold, indicating high or low demand.

Consumer Sentiment Indicators

Net Promoter Score (NPS): While originally used for customer satisfaction, a high NPS can also signal strong demand for products that people are likely to recommend.

Search Engine Data & Social Media Trends: The number of searches or mentions on platforms like Google, Twitter, or Instagram is often used to predict demand surges.

Demand Forecasting Models

Quantitative Forecasting: Uses historical data to predict future demand, such as time series analysis or regression models.

Qualitative Forecasting: Relies on expert opinion, market research, and surveys to gauge demand.

Retail-Specific Ratings

ABC Analysis: Ranks products based on sales volume. Category A items have the highest demand, B moderate demand, and C the lowest.

Pareto Analysis (80/20 Rule): Identifies that 20% of products often generate 80% of demand and revenue.

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Initially focused on razor blades, PAL took a significant step forward in 1935 when it merged with the Utica Knife & Razor Company, moving operations to Plattsburgh, New York. The merger laid the foundation for PAL’s expansion into knives, an area that would define its legacy.

A Brief History of PAL Blade Company

In 1941, PAL acquired the cutlery division of Remington-DuPont in Bridgeport, Connecticut, positioning itself as a major player in the industry. This acquisition gave PAL access to Remington’s designs and tooling, including the renowned "RH" (Remington Hunting) knife models. The company soon expanded to a 100,000-square-foot facility in Holyoke, Massachusetts, with aspirations to become the nation’s largest cutlery manufacturer.

Contribution to World War II

As the United States entered World War II, PAL Blade Company shifted its focus to meet the needs of the military. The company produced bayonets, sheath knives, and pocket knives for American forces. Models like the RH-35, RH-36, and RH-37 became staples for soldiers across all branches of the armed forces.

The RH-36, in particular, stands out as one of PAL’s most iconic designs. Its robust construction made it ideal for the harsh conditions of war, and surviving examples often bear the wear and tear of their storied past, adding to their collectible appeal.

Post-War Transformation and Decline

After the war, PAL rebranded as the Pal and Personna Blade Co., Inc., shifting its focus to kitchen cutlery and other household products. However, the post-war years brought challenges. By 1953, declining sales and aging machinery forced the closure of its Holyoke factory. PAL was eventually acquired by the American Safety Razor Company, which continued the legacy of its razor blades under the Personna brand.

PAL Knives in Today’s Collector Market

For collectors, PAL knives represent more than just functional tools—they are pieces of history. Military knives, particularly those bearing the RH model designations, are prized for their craftsmanship and wartime provenance. The company’s knives are often found with original leather sheaths, which add to their value.

Condition plays a significant role in determining the value of PAL knives. Mint-condition examples with clear markings and intact sheaths can fetch premium prices at auctions or collector gatherings. Even well-used knives with signs of military service hold significant historical and monetary value.

A Lasting Legacy

PAL Blade Company’s journey from a razor blade manufacturer to a cornerstone of wartime production underscores its adaptability and commitment to quality. Its military knives are enduring symbols of an era when American manufacturing rose to meet global challenges.

Whether you’re a seasoned collector or new to the world of vintage knives, PAL’s products offer a tangible connection to history. Owning a PAL knife is more than owning a tool—it’s preserving the legacy of a company that helped shape American craftsmanship during one of the most critical periods of the 20th century.

For those interested in adding PAL knives to their collection, understanding the history and significance of these pieces is essential. With proper care and appreciation, these knives can continue to tell their story for generations to come.

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Swanwerks Knife Company, based in Solingen, Germany, was one of the many knife manufacturers that contributed to the city's reputation as a premier center for cutlery and blade-making. While specific details about Swanwerks are limited due to its relatively niche presence compared to some larger Solingen firms, there is still enough context to piece together its place in the knife-making history of Solingen.

Overview of Swanwerks Knife Company

1. Establishment in Solingen:

Swanwerks was one of many smaller knife manufacturers that operated in Solingen during the 20th century. Solingen, known as the "City of Blades," was home to a multitude of cutlery firms, both large and small, known for producing high-quality knives, scissors, and other cutting tools.

The name "Swanwerks" likely refers to a swan logo or branding, which was common for many Solingen manufacturers as a way to distinguish their products and build brand recognition.

2. Product Range:

Swanwerks focused on a variety of cutlery items, including pocket knives, straight razors, hunting knives, and possibly kitchen cutlery. The products were marked with the Swanwerks name, often accompanied by a swan logo, symbolizing quality and craftsmanship.

Given the quality associated with Solingen products, Swanwerks knives were likely made using high-grade carbon steel or stainless steel, providing durability and excellent edge retention.

3. Export Market and Popularity:

Like many Solingen manufacturers, Swanwerks likely exported a significant portion of its products, especially to the United States and other parts of Europe. German-made knives were highly regarded worldwide, and Solingen was a brand in itself synonymous with quality.

The pocket knives and straight razors from Swanwerks would have been popular among tradesmen, outdoorsmen, and collectors during the mid-20th century, often sought after for their reliable construction and sharpness.

4. Company Decline:

The latter half of the 20th century was challenging for many traditional knife makers in Solingen due to increased competition from cheaper imports, particularly from Asian manufacturers, and changing consumer preferences.

It is likely that Swanwerks, like many smaller Solingen companies, either went out of business or was absorbed by a larger firm by the late 20th century as part of industry consolidation.

5. Collectibility and Legacy:

Today, Swanwerks knives are considered collectible, particularly among enthusiasts of vintage Solingen knives. The company's products, especially those marked with the swan logo, are valued for their craftsmanship and as pieces of Solingen's rich knife-making history.

Collectors appreciate Swanwerks knives for their quality steel, distinctive design, and the legacy they represent as part of the broader tradition of German cutlery manufacturing.

Conclusion

Swanwerks is a good example of a Solingen-based manufacturer that contributed to the global reputation of German cutlery. While not as well-documented or as large as some of its contemporaries, the brand remains a part of the collectible market today, valued by those who appreciate the history and craftsmanship of Solingen knives.

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At iGuide, we pride ourselves on being the premier source for accurate, reliable appraisals of personal property. A crucial part of this process is Certified Field Inspectors—our network of licensed professionals dedicated to delivering accurate physical inspections as the first step in the appraisal journey. With over 60,000 certified associates across the United States, Canada, and Australia, we are committed to providing unmatched service, convenience, and expertise.

This article will walk you through the essential role of our field inspectors, what to expect during an inspection, and how this foundational step ensures the accuracy and reliability of the final iGuide appraisal report.

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The Role of the Field Inspector

The appraisal process begins with an in-person field inspection—Step 1 in our appraisal methodology. This phase is designed to ensure that every item under review is carefully cataloged, photographed, and documented. Whether you're managing an estate, documenting for insurance purposes, or simply curious about the value of your personal property, a certified field inspector will be your first point of contact.

Their primary responsibilities include:

1. Physical Inspection

Inspectors visit your home or business to inventory the property in question.

2. Cataloging

Each item is cataloged and documented in detail.

3. Photography

High-quality photographs are taken for accuracy and inclusion in the appraisal report.

4. Data Entry

As each item is inspected, the collected data is entered into our proprietary appraisal system, forming the backbone of your final report.

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How does it work?

The field inspector’s visit is the first step in the appraisal process. During the physical inspection, the inspector examines each item and its unique attributes are noted. This step is crucial for both single-item appraisals and large estates with thousands of items.

Here’s what happens during a typical inspection:

1. Appointment

The field inspector arrives on the appointed day. The job begins with a discussion of the scope of the inspection, ensuring all items to be included in the appraisal are presented and observed.

2. Inspection and Listing

You should have all items laid out and accessible. Inspectors are not permitted to crawl up in attics or dig through mountains of junk in your barn. Ideally, you will have laid out items in a open room easily accessible for the inspector. iGuide reserves the right to refuse service should we deem the service location to be inappropriate.

Handling. You, as owner or owner representative, handle each item for the inspector. You hand an item to the inspector, he takes notes and photographs, then hands it back.The inspector is not responsible for damage or breakage incurred during inspection. If you prefer to not be involved with handling, you can sign a damage waiver.

Each piece is carefully inspected for details such as condition, markings, provenance, and other characteristics that may affect its value. These points are recorded.

3. Photography

Professional photographs are taken to document each item. These images are essential for the appraisal process and provide a visual record for your report.

4. Data Compilation

The inspector inputs the information and images into iGuide’s secure system. This data is reviewed and analyzed in subsequent stages to generate the final appraisal report.

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Who Are iGuide's Certified Field Inspectors?

Field inspectors are professionals—they are detail-oriented experts in document creation and have undergone rigorous vetting and background checks to ensure the highest level of trust and competence. Each inspector is:
Certified and Licensed. Every field inspector holds the necessary certifications and licenses required by their state or province.
Vetted and Background-Checked. All inspectors pass stringent background checks to ensure integrity and professionalism.
Experienced in Descriptive Documentation. Our inspectors are trained in the nuances of personal property evaluation, from antiques and collectibles to modern assets.

By maintaining these high standards, iGuide ensures that you can trust the inspector working on your behalf.

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Who Do Field Inspectors Work For?

Field inspectors are independent contractors, not employees of iGuide. They are contracted to work for you—the property owner, executor, or estate attorney. While iGuide facilitates the process by connecting you with a qualified professional, your relationship is directly with the inspector. This structure is designed to prioritize your needs and protect your interests throughout the appraisal process. Field inspection is just step one in the appraisal process. Other steps such as market research, data entry, price comps, and final report assembly are conducted by iGuide's internal staff of highly-trained appraisal experts.

Key features of this relationship include:

Transparency in Fees. Your payment is held by iGuide and only released to the inspector upon satisfactory completion of the work.

Client-Centric Service. The inspector’s job is to ensure that your items are accurately documented and represented to your satisfaction.

Support from iGuide. Our team is here to assist with any questions or concerns during the inspection process.

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Why the Physical Inspection is Essential

The in-person field inspection sets iGuide apart from other appraisal services. While digital submissions or user-provided data can be used for informal appraisal opinions, a hands-on, professional evaluation is crucial for a formal estate or insurance appraisal. This approach ensures:
1. Accuracy: Physical inspections eliminate guesswork, ensuring every detail is correctly recorded.

2. Thoroughness: Inspectors can identify and note attributes that might be overlooked in photos or brief descriptions.

3. Credibility: A professionally documented inspection adds legitimacy to the final appraisal, making it more valuable for insurance purposes, estate inventory purposes, or resale.

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A Growing Global Network

With over 60,000 certified field inspectors currently active in the United States, Canada, and Australia, iGuide is already a leader in personal property appraisals. New associates are added constantly.

This growing network ensures that no matter where you are, you’ll have access to the comprehensive appraisal and high-quality service you deserve.

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The Backbone of the Appraisal Report

The data collected during the field inspection forms the foundation of the final appraisal report. Here’s how it works:

1. Data Input

The inspector uploads all item details and photographs into iGuide’s proprietary system.

2. Analysis

Our team of experts reviews the data, cross-referencing it with market trends, historical sales, and our proprietary databases.

3. Report Generation

The final appraisal report is created, providing you with a comprehensive valuation of your property. A copy is mailed to you and a digital version is archived in our database, accessible anytime you wish.

This process ensures that every appraisal report is grounded in accurate, verifiable data.

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How to Get Started

If you’re ready to start the appraisal process, scheduling a field inspection is easy. Simply visit our website at www.iguide.net and follow these steps:

1. Submit your request for an appraisal.

2. Choose a convenient time for your field inspection.

3. Meet with one of our certified field inspectors and let them handle the rest.

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Founded in 1862 in North Attleboro, Massachusetts, by Walter Ballou and Roswell Blackinton, the Ballou & Blackinton company stands as a notable chapter in the history of American silverware and jewelry manufacturing. For over a century, this firm remained under the stewardship of the founding families, showcasing a legacy of craftsmanship and entrepreneurial spirit that significantly contributed to the industry's development.

Trademarks and Products

Ballou & Blackinton initially marked their products with a trademark that remained in use until approximately 1900, a hallmark that today aids collectors and historians in identifying and dating their work. The company's portfolio primarily featured sterling silver and 14-karat gold items, encompassing a wide range of products from flatware and holloware to dresserware. Although better known for their exquisite silver and gold pieces, the firm also produced a limited selection of costume jewelry, diversifying its offerings to meet the varied tastes and needs of its clientele.

Acquisition and Legacy

In June 1967, Wells, Inc., another company based in Attleboro, Massachusetts, acquired Ballou & Blackinton, marking the end of its operation under the original family ownership. Despite this change in ownership, the Ballou & Blackinton name remained synonymous with quality and excellence in silverware and jewelry manufacturing.

Global Recognition

One of the company's notable achievements occurred in the mid-1960s when their Marie Louise flatware pattern was selected by the U.S. State Department. This elegant design was chosen for use in all United States embassies around the world, serving as a testament to the company's reputation for producing items of exceptional quality and design. This global recognition underscores the impact of Ballou & Blackinton's craftsmanship on the international stage, cementing their legacy in the annals of American decorative arts.

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In collecting, the difference between MINT IN BOX and MINT NO BOX can add up to a lot of money. Collectors pay up for original packaging.

The history of packaging as part of the brand is a long one. For luxury brands like Tiffany and Cartier, the boxes they use to present their products are an essential part of their brand identity. These boxes are not only beautiful and visually striking, but they are also steeped in history and tradition, dating back to the early days of the companies themselves.

For example, the signature blue box of Tiffany & Co. has become an icon of luxury and elegance, with its distinctive shade of blue and white satin ribbon instantly recognizable around the world. This box has been an integral part of the Tiffany experience since the 1800s, when the company began using it to package their most precious jewelry items.

Similarly, Cartier's iconic red box has been a symbol of luxury and sophistication since the late 19th century. The vibrant red color was chosen to represent passion and desire, and the box itself has become a status symbol among the world's most elite.

But these boxes are more than just pretty packaging. They serve an important purpose in protecting and preserving the luxury items they contain, ensuring that they arrive to their owners in pristine condition. They also serve as a tangible reminder of the brand's commitment to quality and craftsmanship, and are a way for customers to take a small piece of the brand's legacy with them wherever they go.

In short, the boxes of luxury brands like Tiffany and Cartier are more than just containers for their products. They are symbols of tradition, craftsmanship, and exclusivity, and are a vital part of what makes these brands so beloved by discerning customers around the world.

Tiffany Blue

In 1845, company founder Charles Lewis Tiffany chose the shade of blue now known as Tiffany Blue for the cover of the first catalog in which Tiffany presented its annual jewelry collection. The robin egg blue struck a chord with the public, perhaps since turquoise was incredibly popular in the 19th century, as it was believed to have talismanic qualities.

Over time, the hue of the Blue Book was used in other areas at Tiffany, most notably for the packaging, leading to the birth of the Tiffany Blue Box. The Tiffany Blue Box soon became the most coveted box in the world, and in 1906 the New York Sun reported: "Tiffany has an object in store which you cannot buy, no matter how much money you bid, only he can give it to you. And this is one of his boxes.”

Cartier Red

Red is the color of love and the color of Cartier's jewelry boxes, marking the company as the jeweler of love. Reminiscent of 18th-century splendor, the octagonal jewelry cases made of Moroccan leather with gold garlands have become synonymous around the world with giving a loved one something special.

The company, which was founded in Paris in 1847, initially focused on cases in black, olive green and pink tones, until the elegant shade of deep red finally prevailed in the 1930s. The interior is either white or black velvet, depending on what better showcases the piece of jewelry inside.

Hermès Orange

The signature shade of luxury leather goods manufacturer Hermès came about in a time that had absolutely nothing to do with glamor: World War II. In 1942 there was a shortage of materials everywhere in Paris, and Hermès also felt compelled to replace the cream color of its boxes, which had been the norm until then. What was still available was an orange shade and Hermès grabbed it, little knowing that this orange would eventually become synonymous with the brand.

Today, the boxes at Hermès Orange come in 188 different sizes, so that customers can safely bring their newly acquired treasures home in them, from silk scarves to the legendary Birkin bag. Only their furniture has to do without the signature orange, as Hermès admits on its website.

The boxes from Tiffany, Cartier, and Hermès also play an important role on the auction market. It can make a big difference if an object is offered with or without the original box, especially when it comes to wristwatches. But the boxes are also becoming increasingly popular as collector's items on their own and are sometimes auctioned by themselves, an alternative for luxury lovers on a budget.

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Comic books, like coins, stamps, sports cards, movie posters, and everything else that people collect, are valued according to condition. Because human beings prize things that glitter, the more like new the object is, the more collectors will pay for it. Seems simple enough, right? WRONG! Since arguing about grade actually means negotiating price, buyers and sellers often have a hard time agreeing on grade. Fortunately there are standard terms everyone agrees on (what those terms mean is another story). Sadly, it takes years looking at thousands of variances of grade before you can truly become an expert grader. So how do you know what grade a comic book is in if you are new at making the grade? Let me suggest that you start simple and then focus on the final grade.

First let's look at some general terms that wecan use to describe the condition, then we'll cover some specialized terms that dealers and collectors use.

PERFECT

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We all know what this is, it's a book in brand new condition. When you go to the newsstand and pick the best copy you can find, that's probably a PERFECT, like-new comic book (unless it's mangled on the newsstand). The term for a comic book in perfect condition is MINT. Although some dealers will try to convince you that 30 or 40 year old comics aren't graded as strictly as new comics, I wouldn't believe it if I were you. When it comes to MINT, mint is mint, period.

ABOVE AVERAGE

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If someone bought a comic, read it once or twice, and then carefully filed it away, it is in ABOVE AVERAGE condition. We refer to comics in above average condition as VERY FINE (abbreviated VF).

AVERAGE

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The term collectors use to describe a comic in AVERAGE condition is VERY GOOD (or VG for short). Since comics are supposed to be read and handled, books that have been read and handled are in average condition. Creased corners, little tears, stuff that you could expect from normal use is common in a VG condition book.

BELOW AVERAGE

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Comics that you owned when you were six years old are probably in BELOW AVERAGE condition because you probably beat the @@#$!! out of them. And they look it! The comic is still complete with all pages but the cover might be loose or a piece might be missing from the corner. You know what I mean...ROUGH ROUGH! Collectors describe comics in below average condition as GOOD. Actually, there's nothing good about it other than the fact that you have a copy to keep until a better one comes along.

POOR

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Better known by the technical term "swillage" first coined by Steve Geppi. A book that looks like it was rescued from the trash is in POOR condition. You know you have handled a poor condition book when you rush to wash your hands afterwards.

Now that you know the five basic ranges of condition a comic book can be in, it's much easier to focus in on exactly what the real grade is. Try it yourself. Take a stack of your comics and grade them. Is the first one in the stack just like the day you bought it except for a tiny bend in the corner? Then it's not MINT, but you could certainly say it's ABOVE AVERAGE. Put it in the VF stack. Does the next one in the stack look read and re-read? Put it in the VG stack. Continue sorting the books in basic grades. When you are done, refer to the following grading descriptions. You can focus in on the actual grade by reading these fine-tuning grading descriptions. The one that sounds the closest to the grade of your book is the actual grade.

These are the terms comic book collectors use to describe condition. At conventions and your local comic book store you will see these grades and grade-codes used to indicate grade. Memorize them, learn what they mean, and then you can start making the right grade.

GRADING DEFINITIONS & TERMS

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Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.

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GEM MINT 10.0

Perfect. A very rare grade, even for brand new comics.

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MINT 9.9

An almost perfect 9.9 on a 1-10 scale. A flawless copy in the same condition as the day it was printed. The MINT grade is practically non-existent in pre-1970 comics. Golden age comics in MINT condition are an extremely rare find and fetch huge premiums over average copies of the same comic. When grading a comic mint, no consideration should be given to the age of the book. No printing defects can appear on a MINT comic. The cover should have full original gloss, and appear bright, with sharp corners and no imperfections of any sort. Minute color variations may occur during printing, and are allowed in the MINT classification. The inside covers and all pages are creamy white and fresh. The binding (spine) is tight, flat, and clean without wear or stress lines. Not the slightest blemish can be detected around staples, along the binding and edges, or at corners. Arrival dates penciled (not inked) on the cover are usually acceptable as long as they are very small. When the surfaces of the front and back covers are held to the light, not the slightest wear, indentations, wrinkles or defects of any kind can be observed. As comics must be truly perfect to be in this grade, they are obviously extremely scarce and are seldom offered for sale.

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NEAR MINT/MINT (NM/M 9.8)

Approaching the MINT range but with a very slight blemish of some sort.

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NM+ 9.6

Top of the NM range.

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NEAR MINT (NM 9.4)

9.4 on a 1-10 scale. A copy that is virtually MINT but for one or two very tiny imperfections. For example, a tiny (1/16th inch) edge tear is allowable in this category if no other imperfections are present. A very few tiny stress lines along the spine could be present. Pages and covers should be creamy to white, not yellow or brown. No color touch-ups, repair or restoration of any kind is allowed in this grade. This grade is very rare in books prior to 1970.

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NM- 9.2

Bottom of the NM range.

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VERY FINE/NEAR MINT (VF/NM 9.0)

9 on a 1-10 scale. Beautiful, glossy and excellent in every way with one minor imperfection keeping it out of the higher grades. One tiny corner crease of less that 1/8th inch length is allowed. A couple of tiny (1/16th inch) stress lines along the spine are acceptable if the appearance of the book is not gravely affected. Pages should be creamy white, not yellowed or tan. A common defect in this grade is a tiny spine tear at the upper or lower binding (spine) not greater then 1/16th of an inch in length. One or two tiny tears (1/16th inch) are permitted in this grade if the copy is otherwise flawless. An extremely tiny tear repair, color touch-up, unobtrusive arrival date erasure or other similar invisible alteration, on an otherwise near mint copy, is permitted in this grade.

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VF+ 8.5

Top of the VF range.

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VERY FINE (VF 8.0)

8 on a 1-10 scale. Superb. An outstanding copy in an unusual state of preservation. Clean and bright with sharp corners and pliant interior paper. Slight cover wear is present; possibly 5 or 6 tiny wrinkles or stress lines at the staples where the cover has been opened a few times; still clean and flat with 80 percent of cover gloss retained. Interior page quality should be creamy to white, not yellowish or brown. A few tiny color chips or imperfections could be present. A faint 1/4" corner crease on an otherwise exceptional copy could be present in this grade. Very minor professional restoration or repair is permitted in this grade if noted and described.

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VF- 7.5

Bottom of the VF range.

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FINE/VERY FINE (F/VF 7.0)

7 on a 1-10 scale. Above average. A clean, bright copy lacking the crispness associated with Very Fine. Pages can be slightly yellowed, not brown or brittle. Several tiny stress lines along the spine and cover can be expected. Several tiny color flakes are permitted. No subscription creases or spine roll allowed in this grade. Corners may be slightly rounded. Exceptional cover gloss remains (60 percent or more).

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FN+ 6.5

Top of the FINE range.

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FINE (FN 6.0)

6 on a 1-10 scale. Slightly better-than-average copy with obvious aging and diminishment, but still relatively flat, clean and glossy without subscription creases, writing on the cover (except possibly an arrival date), brown margins or tape repairs. Typical flaws include: light spine wear, minor surface wear, a light crease (1/4" in length), minor yellowing/tanning to interior pages. Still a bright copy with 50 per cent cover gloss. A few stress lines around the staples and along the spine are normal in this grade, but not more than 1/8" in length. One small edge chip or several tiny chips (such as Marvel chips) are permitted in this grade. One minor tear is allowed on an otherwise FVF copy. A very minor spine roll on an otherwise clean and uncreased copy is permitted in this grade.

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F- 5.5

Bottom of the FINE range.

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VERY GOOD/FINE (VG/F 5.0)

5 on a 1-10 scale. Better than VG+, approaching FINE but not quite sharp enough to merit the higher grade. Frequently, a FINE copy with an unusual flaw is lowered to VG/F.

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VG+ 4.5

Top of the VG range. Slightly below a VG/F copy.

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VERY GOOD (VG 4.0)

4 on a 1-10 scale. Average. Ordinary signs of use. Used, but not abused. The common state of preservation of a comic book that has been used as intended. Significant diminishment of original cover glossiness. Noticeable discoloration or fading could be present. One or two minor markings on covers is permitted. Minor spine rolling may have occurred. Lightly creased along extremities; a faint subscription crease is allowed. The covers could have a minor tear or crease where a corner was folded under. The centerfold could be detached or loose from the staples. A small chip or piece from the covers, or a small piece from an interior page that does not affect the live area (artwork area), is acceptable. Pages and inside covers could be tannish or yellowed, but not brittle. A small tape repair could be present in this grade. Still, the appearance of the comic is such that many collectors find the book acceptable until a better copy can be located.

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VG- 3.5

Bottom of the VG range.

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GOOD/VERY GOOD (G/VG 3.0)

3 on a 1-10 scale. Approaching VERY GOOD but with too many signs of abuse to be a solid VERY GOOD. G/VG and G+ represent a very slight variation in grade.

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G+ 2.5

Top of the GOOD range.

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GOOD (G 2.0)

2 on a 1-10 scale. Below average. A worn copy but complete with all pages including centerfold, which may or may not be loose. Creased, scuffed, covers lack gloss, faded. Pages could be brown and brittle. Although a copy in this grade could have white pages and covers, the accumulation of defects such as creases, tears, or chips and general wear prevent this book from any higher classification.

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G- 1.8 Bottom of the GOOD range.

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FR/G 1.5

Approaching GOOD, with too much wear to be a solid GOOD.

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FR+ 1.25

Heavily worn but approaching the good classification.

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FAIR (FR 1.0)

0.5 on a 1-10 scale. Used and abused. Extremely worn, creased, and dirty, with possibly loose pages or significant tears, but still complete. Possibly small pieces missing from the cover, inked markings, tape, etc.

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POOR (PR .5)

0 on a 1-10 scale. A terrible copy. Damaged; extremely worn; dirty or otherwise unsuited for collection purposes. Pages could be missing. Could be coverless if noted.

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Free Comic Book Appraisal

You've meticulously examined your old coins, inspecting every detail for flaws, double stamps, or errors. You've stared at so many old pennies that they're practically imprinted on your eyelids. Finally, you have that "Eureka!" moment — you believe you've found an error coin. But hold on a second; don't get ahead of yourself.

EUREKA! I FOUND AN ERROR COIN!

Nearly every day, we receive excited messages from people who are convinced they've discovered a rare error coin. Even more thrilling, they’ve done their own research and found someone else selling the exact same coin for an astronomical price. They believe they've hit the jackpot and want us to appraise their newfound treasure. The only problem? The coin hasn’t been authenticated by an expert service.

While we appreciate the enthusiasm and curiosity that drives people to seek our appraisal services, the reality is that 99.99% of the time, the coin isn't a genuine error. That "rare" 1943 copper cent? More often than not, it's a modified 1948 coin or a copper-plated steel cent. That 1958 "Double Strike Obverse"? It usually turns out not to be a double strike at all. And the list goes on.

Here's the thing: if you believe you have an error coin, but it hasn't been authenticated by a trusted service like ANACS, PCGS, or NGC, its value is, unfortunately, limited. Even if it is a true error, if it's not certified, it won’t hold much weight in the market.

WHAT IS AUTHENTICATION?

Authentication involves a professional expert examining your coin to confirm its authenticity. The process includes encapsulating the coin in a secure holder, applying a tamper-proof label, and documenting it in their historical database. This process comes with fees, which vary by service, but without this authentication, most collectors will be hesitant to buy or appraise your coin for a high value.

Three trusted grading services with established reputations are ANACS, PCGS, and NGC. As appraisers, we recognize and trust these services to provide reliable verification.

WHAT SHOULD YOU DO NEXT?

If you genuinely believe you’ve discovered a rare error coin, such as a 1943 bronze cent, we encourage you to take the next step to verify its authenticity. Before seeking an appraisal, it’s crucial to have it certified. To get started, search for "ANACS Grading Service" or "NGC Grading Fees" to find out how to submit your coin. Once authenticated, feel free to reach out for an appraisal, and good luck with your discovery!

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Franklin Mint silver collections are prized by collectors and investors for their craftsmanship, historical significance, and intrinsic value. Whether you have coins, medals, ingots, or sterling silver plates, there are several reputable companies that specialize in purchasing Franklin Mint silver collections. Understanding your options will help you find the best fit for your selling needs.

Reputable Buyers of Franklin Mint Silver Collections

Below are some notable companies that specialize in purchasing Franklin Mint silver items:

2nd Markets Corporation
With over 30 years of experience, 2nd Markets buys Franklin Mint silver and gold collections, including medals, ingots, and plates. They emphasize transparency and provide a straightforward selling process.

Franklin Mint Silver
This platform offers a marketplace for Franklin Mint silver and gold collectibles, focusing on medals, ingots, and coins. Sellers can use their resources to facilitate transactions efficiently.

iCollect Franklin Mint
Specializing in Franklin Mint coins, sterling silver plates, and silver ingot sets, iCollect Franklin Mint is known for purchasing a wide range of Franklin Mint items.

iGuide.net
Primarily a price guide, iGuide.net offers valuable insights into the worth of Franklin Mint collections and provides recommendations for selling items to achieve fair market value.

Tips for Selling Franklin Mint Silver Collections

When selling Franklin Mint silver, consider these tips to ensure a smooth process and fair valuation:

1. Research Your Collection
Understand the details of your items, including their composition, weight, and rarity.

2. Compare Offers
Reach out to multiple buyers to obtain quotes and ensure you’re getting the best price.

3. Understand Market Trends
Keep an eye on the current silver market value, as it can influence the price you’ll receive for your collection.

4. Preserve Your Items
Handle your silver pieces with care to avoid any damage that could reduce their value.

Selling Franklin Mint silver collections can be a rewarding experience, especially when you connect with reputable buyers who understand their historical and monetary worth. Whether you’re looking for convenience or the highest offer, the companies listed above provide trusted options to help you make an informed decision.

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Coin collecting is a popular hobby, and some rare coins can fetch a high price on the market. Here are some of the world's rarest coins:

1933 Double Eagle

This is the rarest and most valuable coin in the world. Only 13 of these coins were ever released, and most were subsequently melted down. In 2002, one was sold for over $7 million.

1794 Flowing Hair Dollar

The first silver dollar ever minted in the United States, only 140 of these coins are believed to exist. In 2013, one sold at auction for over $10 million.

1894-S Barber Dime

Only nine of these dimes were ever minted, and only one is known to still exist. In 2007, it sold for over $1.9 million.

1804 Silver Dollar

Only 15 of these coins were ever minted, and they are considered some of the most valuable coins in the world. In 2017, one sold for over $3.8 million.

1913 Liberty Head Nickel

Only five of these coins were ever minted, and they are considered some of the rarest coins in the world. In 2018, one sold for over $4.5 million.

Collecting rare coins can be a thrilling hobby, but it is important to do your research and be cautious of counterfeits. Experts recommend buying from reputable dealers and investing in a grading service to ensure the authenticity and condition of the coins.

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When grading items, one should remember the goal: to paint an accurate picture in the mind of the potential buyer of what to expect upon receipt of the item. Of course, a picture is worth a thousand words, and often a seller can include high-quality images to help describe the note, but too frequently an image does not clearly show all flaws. This is when a good grading description becomes invaluable. The buyer relies on the seller's honesty and accuracy in disclosure. It is therefore incumbent upon the seller to do the best job possible.

The Importance of Accurate Grading

The phrase "Condition, Condition, Condition" is often heard among currency dealers and collectors, emphasizing the importance of this factor in determining value. Accurate grading allows for a fair assessment of worth, helping buyers and sellers reach a mutual agreement on price. However, it’s important to note that different grading systems exist, so understanding the specific standards used is essential to avoid confusion.

This being said, writing a good grade description is more of an art than a science. One can be too brief, or too comprehensive, with equally bad effect. If too brief, the reader has an eerie feeling of uncertainty which causes the buyer not to buy. Too much detail, and the opposite can happen: the buyer imagines the accumulation of flaws in the description of every tiny flaw and pictures an item in horrible shape, when this is not the case.

Collecting currency is a well-established hobby going back decades. It has established a set of grade terminology that all market participants use to describe the condition of their notes. So-called Third Party grading services such as PCGS and NGC provide certified grades that meet the standards set by the market. The following grades are the well-established grades provided by the American Numismatics Association.

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70 EPQ Gem Uncirculated

10 on a scale of 1 to 10.
A+
Perfect. Brilliantly clean, crisp, bright, sharp corners, deep color. The highest grade possible. Notes must have no evidence of handling visible at 5x magnification. The margins and registration must appear centered to the unaided eye.

The 70 grade represents an extremely rare state of preservation and should NOT be used unless the item is absolutely perfect!

The item exhibits an amazing state of preservation with virtually no perceptible flaws of any kind, other than very minor flaws which may have occurred during the printing process.

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69 EPQ Superb Gem Uncirculated

This note is nearly visually indistinguishable from a 70 but the margins and registration may appear slightly off center. There is no evidence of handling visible to the unaided eye.

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68 EPQ Superb Gem Uncirculated

The margins and registration are slightly off center. There may be very minor handling.

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67 EPQ Superb Gem Uncirculated

A note with above-average margins and registration. There may be minor handling.

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66 EPQ Superb Gem Uncirculated

There may be slightly more handling than a 67 EPQ note. The centering must be above average.

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65 EPQ Gem Uncirculated

The note may have one or two minor distractions as a result of minor handling. The centering must be above average.

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64 Choice Uncirculated

The centering is off on one or two sides. Some handling may be evident but there must be no folds in the design.

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63 Choice Uncirculated

The centering is imperfect and the design may be flat. There may be several flaws but there will be no folds.

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62 Uncirculated

The note is strictly uncirculated but may have minor-to-moderate handling and/or corner tip issues. There will be no folds, however. The margins may touch or come into the design.

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61 Uncirculated

The note is poorly centered and the margins come into the design. There may be counting marks, smudges or other signs of handling. There will be no folds through the design.

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60 Uncirculated

A note with problems that may include toned paper, a small stain or fading. There will be handling issues but there will be no folds through the design.

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58 Choice About Uncirculated

Barely circulated. Appears uncirculated but upon close inspection, it apparently has been lightly circulated. Often a note with a single fold that crosses the design.

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55 About Uncirculated

Barely circulated. This grade is commonly assigned to a note that has one fold or two to three corner folds through the design.

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53 About Uncirculated

Barely circulated. Clean, crisp, sharp corners, good color. Two or three very light almost invisible vertical folds.. Minor signs of handling.

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50 About Uncirculated

Barely circulated. Sharp, crisp, clean, strong color. The note can have two heavier folds or light horizontal and vertical folds. The handling can be noticeable.

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45 Choice Extremely Fine - Circulated

Barely circulated. Minor discoloration and wear, crisp, fairly sharp, decent color. A note with two to three heavy folds, one of which may be horizontal.

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40 Extremely Fine - Circulated

Lightly Circulated. Noticeable discoloration and wear, weakening paper, minor corner wear, good color. There are three or more folds, one of which may be horizontal.

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35 Choice Very Fine - Circulated

Lightly Circulated. For years dealers and collectors called this grade VF-XF. This note looks Extremely Fine, but it will have four to seven light folds.

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30 Very Fine - Circulated

Lightly Circulated. This note will be circulated and may have light soiling. Can have up to seven to ten folds.

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25 Very Fine - Circulated

Moderately Circulated. A note that shows modest evidence of circulation as well as more folds and/or soiling than a note graded 30.

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20 Very Fine - Circulated

Moderately Circulated. The note is moderately circulated with numerous folds, mild soiling. There are no serious detractions but there may be minor defects.

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15 Choice Fine - Circulated

Moderately Circulated. This note may look like a Very Fine note, but upon closer examination it is found to have too many folds or too much circulation to warrant a Very Fine grade.

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12 Fine - Circulated

Rough Circulated. Evidence of circulation is considerable with rounded corners, margin splits and other issues. The note must be whole with solid paper.

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10 Very Good - Circulated

Rough circulated. A solid, whole note with lots of circulation. The note is too limp and has a number of minor problems.

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8 Very Good - Circulated

Rough circulated. The note is heavily circulated but is intact. Some small pieces may be missing. Soiling, light stains or splits are common for this grade. The note is limp.

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6 Good - Circulated

Poor, rough circulated. The note is very worn with serious splits, fraying of the margins and damage.

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4 Good - Circulated

Poor, rough circulated. A very heavily circulated note with numerous problems. It is totally limp with impaired visual appeal. Notes in this grade are commonly seen with pieces missing.

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Descriptions

Here are some typical descriptions we see in the marketplace. Note the arrangement of descriptive detail, and choice of upper/lowercase notation.

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GEM UNCIRCULATED sharp corners, crisp, rich color, no folds, no tears, no pinholes, no visible wear

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CHOICE UNCIRCULATED Barely circulated. Clean, crisp, sharp corners, good color, no folds, no tears, no pinholes --- see photos

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ABOUT UNCIRCULATED Barely circulated. Clean, crisp, sharp corners, good color, no folds, no tears, no pinholes --- see photos

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EXTRA FINE CIRCULATED

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VERY FINE CIRCULATED. noticeable wear and wrinkling, good color, numerous folds, no tears, no pinholes --- see photos

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FINE CIRCULATED fairly clean, well worn with noticeable folds, no tears, no pinholes --- see photos

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VERY GOOD CIRCULATED well worn, numerous folds, minor edge tears, no pinholes --- see photos

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ROUGH CIRCULATED discolored and well worn with numerous folds, edge erosion, and edge tears --- see photos

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Collecting amulets has a rich history that dates back thousands of years. Amulets are objects believed to have magical or protective powers, and they have been used by people of different cultures and religions around the world. The tradition of collecting amulets is rooted in the belief that these objects can bring good luck, protect against evil spirits, or offer spiritual guidance.

The use of amulets dates back to ancient Egypt, where they were believed to provide protection and guidance for both the living and the dead. Egyptians would wear amulets made of various materials such as gold, silver, and precious stones to symbolize protection, power, and divine favor. Amulets were also used by ancient Greeks and Romans, who believed in the power of these objects to protect against disease and misfortune.

In many Asian cultures, amulets are still widely used today, and their popularity has led to a thriving market for collectors. In China, amulets are often used as gifts for good luck during important events, such as weddings or business deals. In Japan, amulets are used for protection during travel, and are often placed in cars or carried by travelers.

Amulets are also used in many religions, including Christianity, Judaism, and Islam. Christians often wear medals or crucifixes as amulets, while Jews may wear amulets with Hebrew inscriptions for protection. In Islam, amulets called taweez are often worn or carried for protection and blessings.

Today, amulet collecting remains a popular hobby among people around the world. Some collectors focus on amulets from a particular culture or religion, while others collect based on the materials or historical significance of the object. With the internet and online marketplaces, it is easier than ever for collectors to connect with others and find rare and unique amulets to add to their collections.

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Buddy Lee dolls are an iconic piece of Americana, beloved by collectors for their charm, history, and connection to advertising culture. Here’s an overview of their history and value:

History of Buddy Lee Dolls

1. Origin (1920s):
The Buddy Lee doll was created in 1920 by the H.D. Lee Mercantile Company, better known for its Lee overalls and workwear.

The doll was originally used as a promotional tool to showcase Lee clothing, displayed in retail stores wearing miniature versions of Lee products.

2. Popularity (1920s-1950s):
Over time, Buddy Lee evolved from a simple mannequin into a cherished collectible. His outfits expanded to reflect different professions and themes, including farmer, cowboy, gas station attendant, and soldier.

Made of composition material early on, the dolls transitioned to plastic in the late 1940s, making them more durable.

3. Cultural Icon:
Buddy Lee became a symbol of Lee’s rugged and dependable workwear. His endearing appearance and detailed outfits made him a favorite among children and collectors alike.

4. End of Production:
Production of Buddy Lee dolls ceased in the 1960s, but their nostalgic appeal has kept them in demand. Limited-edition reproductions were released in the 1990s and early 2000s.

Value of Buddy Lee Dolls

The value of Buddy Lee dolls depends on several factors, including age, condition, material, outfit, and rarity. Here’s a breakdown:

1. Vintage Dolls (1920s-1960s):
Composition Material (Pre-1949):
< Early Buddy Lee dolls made of composition are the most valuable.

Prices range from $500 to $2,000, depending on condition and outfit rarity.

Plastic Material (Post-1949):
Plastic versions are generally less expensive but still collectible.

Prices range from $200 to $800.

2. Outfits:
< Dolls with original outfits, particularly rare or themed clothing, fetch higher prices.

Examples include cowboy, railroad worker, and military uniforms.

3. Condition:
Dolls in excellent condition with minimal wear or damage and intact clothing are worth significantly more.

Original packaging can add another 30-50% to the doll's value.

4. Limited-Edition Reproductions:
Reproductions from the 1990s and 2000s are less valuable but still collectible.

Prices typically range from $50 to $150.

If you’d like a specific appraisal for a Buddy Lee doll, I can assist with current market values based on recent sales data. Let me know!

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If you're looking to sell your platinum coins or platinum jewelry, understanding how to determine their value is crucial. Buyers rely on specific information to make fair offers. Here's a quick guide to valuing your platinum and providing buyers with the details they need.

Platinum Coins

Platinum coins are bullion, which means their value is based solely on their platinum content, not rarity or collector value. To accurately assess their worth, you'll need to provide buyers with the following key details:

Country of Origin For example, Canada or the United States.

Denomination For instance, $100 or $50.

Weight If known, such as 1 troy ounce.

Purity For example, "999 fine" or "999.5 fine."

By supplying these details, buyers can quickly calculate the market value of your platinum coins.

Platinum Rings and Jewelry

When it comes to platinum jewelry, bullion buyers are interested in the metal itself rather than any gemstones. If you have platinum jewelry with gemstones such as diamonds or emeralds, you should not sell these for only their bullion value.

To get the best offer for your platinum, focus on these factors:

Check the Stamping
The purity of platinum jewelry is typically stamped on the piece. This stamp provides valuable information to buyers. Common markings include:
95% Platinum Stamped as "Platinum," "950 Plat," or "950 Pt."

90% Platinum Stamped as "900 Plat" or "900 Pt."

85% Pure Platinum Stamped as "850 Plat" or "850 Pt."

If the jewelry contains at least 50% pure platinum and 95% platinum group metals (e.g., palladium, iridium), it may be stamped with both the platinum and alloy content, such as "600 Plat 350 Irid." Jewelry with less than 50% platinum cannot legally use the word "platinum" in its marking.

Weigh the Piece
Weight is a critical factor in determining value. If possible, weigh your jewelry using a kitchen scales grams setting. An affordable digital gram scale (available at Walmart or online retailers) can help. Be sure to choose a scale that can handle weights up to at least 50 grams.

Provide Photos
While optional, clear photos of your platinum pieces can assist buyers in evaluating their condition and making a more accurate offer.

Why This Information Matters

Providing accurate and detailed information about your platinum coins or jewelry helps buyers make fair and competitive offers. Without essential details like weight, purity, or markings, buyers may hesitate to make a bid or offer less than your piece is worth.

Whether you're selling bullion coins or platinum rings, preparation is key. Answer buyers’ questions thoroughly and provide the generally accepted details they need to assess the value. This approach ensures you receive the best possible offers for your platinum items.

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Old editions of The New York Times can hold significant value, especially when they report on monumental historical events. Collectors, historians, and enthusiasts often seek out these newspapers for their historical and cultural significance. While not every old newspaper is worth money, certain factors like historical relevance, rarity, condition, and authenticity can significantly influence their value.

A Brief History of The New York Times

Founded in 1851 by Henry Jarvis Raymond and George Jones, The New York Times has become one of the most respected newspapers globally. Initially, it aimed to offer objective reporting, distinguishing itself from the sensationalist journalism of the era. Over the decades, it has chronicled pivotal moments in history, from the Civil War to the moon landing, solidifying its place as a historical record and a valuable collectible in some cases. Early editions, such as the very first issue from September 18, 1851, are particularly rare and highly sought after by collectors.

What Makes Old New York Times Newspapers Valuable?
Several factors determine the value of an old New York Times issue:

1. Historical Significance

The most valuable newspapers typically cover landmark events. For example, the April 15, 1865, issue reporting the assassination of President Abraham Lincoln is one of the most coveted. It has been appraised at around $250,000 due to its historical importance and rarity. Similarly, the July 21, 1969, issue documenting the Apollo 11 moon landing is also highly sought after. Such newspapers provide firsthand accounts of moments that changed the world, making them appealing to collectors and museums.

2. Rarity

Rarity plays a crucial role in determining a newspaper’s value. Issues from the early days of The New York Times are rare because fewer copies were printed, and even fewer have survived the passage of time. For instance, the newspaper's first edition is exceptionally valuable because of its limited availability and its status as the beginning of the publication's storied history.

3. Condition

The condition of a newspaper significantly impacts its value. Well-preserved issues with minimal discoloration, intact pages, and legible text are worth more than torn, faded, or water-damaged copies. Collectors prioritize newspapers that have been stored carefully, away from light and humidity, which can cause deterioration.

4. Authenticity

Original editions are far more valuable than reprints or commemorative editions. For example, newspapers reprinted for anniversaries or special occasions may still hold some value but are generally worth less than genuine period prints. Authenticity can be verified through paper quality, print techniques, and historical markings.

Examples of Valuable Issues

Some notable examples of valuable New York Times issues include:
-Civil War Editions: Newspapers covering major battles or President Lincoln’s assassination are highly collectible.
-Titanic Sinking (April 16, 1912): This issue reporting the Titanic disaster can sell for hundreds to thousands of dollars depending on its condition.
-World War II Events: Issues covering the D-Day invasion or the end of the war often attract collectors.

Conclusion

Old New York Times newspapers can be worth a significant amount, particularly when they report on historical events, are rare, and are in good condition. As a testament to the moments that shaped history, they serve as valuable artifacts, cherished by collectors, historians, and enthusiasts. Whether you’re holding onto a piece of family history or have stumbled upon a collection, it’s worth exploring the potential value of these historical treasures.

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Amazing Fantasy #15 is highly significant in the world of comics for several key reasons:

1. First Appearance of Spider-Man

This issue, published in August 1962 by Marvel Comics, marked the first appearance of Peter Parker as Spider-Man. Created by Stan Lee and Steve Ditko, Spider-Man has become one of the most iconic and enduring superheroes in comic book history.

2. Origin Story

It introduces Spider-Man's origin story where Peter Parker, a high school student, is bitten by a radioactive spider during a school field trip, granting him superhuman abilities. This issue lays down the foundational elements of Spider-Man's character, including his powers, costume, and the famous motto, "With great power comes great responsibility," although in this issue, the phrase is slightly different: "With great power there must also come great responsibility."

3. Cultural Impact

Spider-Man's introduction in this comic has had a profound impact on popular culture. The character has appeared in numerous comic books, television shows, movies, video games, and other media, becoming a cultural icon.

4. Market Value

Due to its historical significance, Amazing Fantasy #15 is among the most valuable comic books. High-grade copies have been sold for millions of dollars at auctions. For instance, a CGC 9.6 copy sold for $3.6 million in 2021, setting a record for the highest price ever paid for a comic book at that time, though this record has since been surpassed by other comics like Action Comics #1.

5. Artistic Contribution

The issue is notable for its artwork by Steve Ditko, who co-created Spider-Man with Stan Lee. Ditko's unique art style played a significant role in defining the character's look and the feel of his adventures.

6. Influence on the Superhero Genre

Spider-Man's introduction in Amazing Fantasy #15 helped to diversify the superhero genre by presenting a hero with everyday problems, making him relatable to a broader audience. This approach influenced subsequent superhero narratives, emphasizing personal and societal challenges alongside superhuman feats.

The importance of Amazing Fantasy #15 lies not just in its historical first appearance of Spider-Man but also in its lasting impact on comic books, superhero storytelling, and popular culture at large.

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HERE ARE THE STEPS

1. Search the Internet. Find great photos of an item that on iGuide does not have images. Good open source sites include Wikipedia and the U.S. Mint.

2. Take a screenshot of each image. (google "how to take a screenshot" - it is simple)

3. Open the image in Windows Paint or your favorite image editing program. Crop the image, THEN SAVE AS JPG FORMAT.

4. Go to the iguide page, click EDIT THIS PAGE. Click CHOOSE IMAGES. Upload the images that EXACTLY MATCH THIS ITEM.

5. Click SAVE & CLOSE.

The Colt Automatic Firearms, crafted by Colt's Patent Fire Arms Manufacturing Company (often abbreviated as Colt’s PT F.A. Mfg. Co.), hold a revered place in the history of firearms. With a storied past rooted in innovation and craftsmanship, Colt, headquartered in Hartford, Connecticut, became a cornerstone of American firearms manufacturing. For collectors and enthusiasts, understanding the significance of Colt’s automatic firearms is key to appreciating their historical and monetary value.

Early Beginnings of Colt

Samuel Colt founded the company in 1836, revolutionizing firearms with his groundbreaking revolver designs, such as the Colt Patterson. These early innovations not only established Colt’s reputation but also laid the foundation for its later success. As firearm technology evolved, so did Colt, transitioning by the late 19th and early 20th centuries to focus on semi-automatic and automatic firearms to meet the changing needs of militaries and civilians.

Key Colt Automatic Firearms

Colt Model 1900
Designed by the legendary John Browning, the Colt Model 1900 was Colt's first semi-automatic pistol. It introduced the .38 ACP cartridge, marking a pivotal moment in firearm technology and design.

Colt Model 1911
Widely considered Colt's most iconic firearm, the M1911, also designed by Browning, became the standard sidearm for U.S. military forces in 1911. This model served through decades of military campaigns and remains one of the most popular and collectible pistols worldwide.

Colt Thompson Submachine Gun
Commonly known as the "Tommy Gun," this submachine gun was manufactured by Colt under contract. Its notoriety during Prohibition and its significant role in World War II make it a highly coveted piece for collectors.

Colt M16/AR-15
Acquiring the rights to Eugene Stoner’s AR-15 design in 1959, Colt produced the M16, which became the standard-issue rifle for U.S. troops during the Vietnam War. This model’s military pedigree and modern popularity in the civilian market ensure its enduring appeal.

Colt’s Contribution to Firearm Innovation

One of Colt's greatest strengths was its collaboration with visionaries like John Browning, resulting in firearms that set global standards for performance and reliability. The company’s role in equipping U.S. military forces in both World Wars and subsequent conflicts solidified its reputation for quality and innovation.

The Hartford Connection

Colt’s impact extends beyond firearms to its cultural and industrial legacy in Hartford, Connecticut. The Colt Armory, featuring its iconic blue onion-shaped dome with a gold-painted Colt logo, remains a symbol of industrial excellence. At its peak, the factory provided thousands of jobs and became a cornerstone of Hartford’s economy.

Legacy and Collectibility

Colt’s automatic and semi-automatic firearms have left an indelible mark on history, influencing both military and civilian industries. For collectors, Colt’s historical models are not just firearms—they are pieces of American history. From the pioneering designs of the Colt Model 1900 to the battlefield-tested M1911 and M16, these firearms represent innovation, craftsmanship, and reliability.

Collectors value Colt firearms for their quality, historical significance, and enduring legacy. Whether you’re an experienced collector or new to the world of firearms, understanding the story behind Colt’s automatic firearms adds depth to their allure.

Have a Colt firearm?

If you have a Colt firearm or are curious about its value, our appraisal experts are here to help. Whether you own a Model 1900, M1911, or another piece of Colt history, we provide detailed evaluations to help you understand its historical and monetary worth. Reach out today to learn more about your collectible and its place in the storied legacy of Colt firearms.

ANTIQUE GUN COLLECTING is a hobby and that, in turn, is defined as "Something in which one takes an absorbing interest"—a hobby is divorced from a man's main vocation. It will repay you as a sanctuary safe from the stress and strain of a distraught world. It will develop your traits of observation, increase your historical knowledge, increase your scientific information and offer a good monetary return.

Typical of the letters received by the writer is the following: "I was on the verge of selling a gun I had bought at an auction for eight dollars until I was told about your book, `American Antique Guns and Their Current Prices.' After looking it up I was able to get $250.00 from a dealer. I do not ordinarily handle guns because I am afraid of them and also because I do not know anything about them. Can you re- fer me to some elementary text that would help me?" The answer to this letter is this series of articles. They will attempt to explain step by step, in plain English the mysteries of guns, the fundamentals of gun collecting, and how to make guns an interesting and profitable addition to your antique business. Once you have mastered these lessons you will find the knowledge is a passport to a world of gun collectors that intensely ride their hobby.

The gun to us is a symbol of the battles we Americans fought for our freedom and its maintenance. Firearms influenced our destiny and are related to our development. Firearm manufacture with the introduc- tion of interchangeable parts and the use of machinery supplied the key- stone of America's industrial development.

Each gun opens a window upon a historic vista. Biography, Science, History are conjured up by fact while the magic of fancy unveils the romance and mystery of the past. Storied guns! Ghosts of the past! That "Kentucky pistol" beaten into shape and created into form by the Pennsylvania village blacksmith and gunsmith was the sidearm of the fur trader as he guided the horse pack caravan laden with merchandise to trade for pelts.

That derringer reposed in the vest pocket of the cotton planter as he faced the professional gambler in a game of cards on the packet as it sailed the Mississippi.

That colt came from the Sheriff's carved holster as he headed the vigilantes for law and order. The oak of those grips came from the famous Connecticut "Charter Oak" that played such an important role in colonial history.

That pair of "dueling pistols" ornate and encased in the velvet-lined box with the accouterments pacified some ruffled pride. That "Smith & Wesson" suggests an officer's sidearm in the War Between the States.

These old pieces have witnessed life and death, love and hate, sorrow and sacrifice, triumph and disaster, and with a kaleidoscope turn the pat- tern is new. They are the mirror of a vanished era and we interpret the reflection terms of our knowledge. America gave to the world the rifle, the derringer, and the revolver. These old and revered weapons were invented for peace and are a noble reminder of the pageant of people that braved unknown dangers, "went West," blazed trails, formed territories, established law and order, pushed back the frontier and created a nation. The revolver was one of the greatest civilizing factors. The march of civilization and its survival is dependent upon firearms though it,be a far cry from the Scripture's record of the use of ingenious machines with power from twisted ropes or of David's sling.

Firearms influenced our destiny and are related to our development. We are a peace-loving people, yet no American has lived to the age of thirty-five without seeing his country at war. The saga of weapons can sustain "an absorbing interest" because it is a brilliant and neglected story of American historic importance with many long and remarkable chapters between the days of the obscure and primitive-tool equipped gunsmith who forged the world's most accurate rifle and our modern huge plants with the finest equipment. ,The United States is the story of the invention of mechanical miracles and astonishing progress. The gun was the genesis of mass production. Mass production gave us industrial su-premacy and now though we have only 7 percent' of the population of the world, we produce 65 percent of the manufactured goods.

Eli Whitney, whom we know for his invention of the cotton gin, also accomplished another feat fully as important. He received a government contract in 1798 to build fifteen thousand flintlock muskets. Each gun until then was an individual forged weapon, made by a single workman. The weapons resembled each other but the parts were not interchange- able. Whitney separated the gun into uniform, standard and interchange- able parts and manufactured the component parts by machinery. That is how mass production was born.

The Remington gun factory, founded in 1816 by Eliphalet Remington, farmer and blacksmith, produced the first breech-loading rifle that gained worldwide acceptance.

Samuel Colt, Connecticut Yankee whose career was fantastic, invented the first practical repeating revolver in 1835.

Oliver Winchester backed the first practical repeating rifle, and also helped finance Horace Smith and Daniel Baird Wesson. They became Smith & Wesson, a synonym for the cartridge revolver.

John M. Browning, a Mormon gunsmith of Ogden, Utah, was one of the greatest and most prolific inventors of firearms.

Behind the names of Eli Whitney, Simeon North, Henry Deringer, Alfred Mordecai, Ethan Allen, Eliphalet Remington, Samuel Colt, Hor- ace Smith, Daniel Baird Wesson and John M. Browning are important and dramatic stories as well as the unsung craftsman.who supplies many fascinating details. Vital to the story of American technical ingenuity, skill and progress is the American method of belt assembly lines and interchangeable parts, contributions by gunsmiths.

Antique Gun Collecting demands knowledge, research and study. The background of a weapon is dependent upon five w's which are: Who made it? Where? When? Why? Worth?

A Paterson Colt was picked up at a junk store for $10.00. Treasures lurk in trash and that old, rusty, junky gun may be a gem. How else could one recognize its worth if not through diligent study? Follow carefully on iGuide our series of articles and you will soon discover that an adventure may be grasped by one who "takes an absorbing interest."

Antique guns are a sound investment—financial probably—but certainly in appreciation of fine craftsmanship with the dividend in pride of possession.

Gun collecting is an educational and profitable hobby. To be a successful collector you must, of course, study your subject. Observation will teach you much. One of the intriguing features of gun 'collecting is the knowledge it brings of the past. Guns are records fog interpreting, visualizing and vitalizing history. The knowledge, of the past helps us to see it as a reality in relation to the present.

Gun collecting is an unusual hobby because it is a source of profit rather than an expense. It also furnishes abundant pleasure and fascinating study. We hope to trace a brief outline of gun collecting in this book. Acquiring a collection of interest and value is a long-term operation. There are many branches to explore with study and experience to master them, but be not deterred, therein is the secret of its interest.

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The iGuide Grading Guide provides several layers of depth to appeal to both new and advanced collectors alike. We suggest "report card" grades which we hope will help non-experts. Grading should be easy but too often for new collectors it is not. A term like MINT is vague for newbies. But grade A makes sense to anybody who has ever received a report card. The iGuide Grading Guide provides our so-called "report card" letter grades from A+ to F, as well our our 1 to 10 numeric grades (on a scale of 1 to 10) and then the standard grades used by many collector books. These grades attempt to describe preservation state. They follow rules used by collectors for years to keep things clear when buying, selling, or talking about items. Grading helps with consistency in buying, selling, and advertising. Proper grading takes a lot of experience and is more an art than a science, so we hope this guide will help you get started as you learn how to MAKE THE GRADE.

When it comes to determining the value of a collectible firearm, there are three key factors to consider: demand, rarity, and condition. Among these, the condition of the firearm often plays the most significant role. Whether you're a seasoned collector or just starting, understanding how to accurately grade the condition of a firearm is crucial. A firearm in excellent condition can command a significantly higher price than one in poor condition, even if both are rare.

The Importance of Accurate Grading

The phrase "Condition, Condition, Condition" is often heard among firearm dealers and collectors, emphasizing the importance of this factor in determining value. Accurate grading allows for a fair assessment of a firearm's worth, helping buyers and sellers reach a mutual agreement on price. However, it’s important to note that different grading systems exist, so understanding the specific standards used is essential to avoid confusion.

The iGuide Firearm Grading Scale

UNUSED GRADES
The term UNUSED refers to a firearm which has never been used. The unused grades range from a perfect A+ to an unused but showing signs of wear B.

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A+

10 on a scale of 1 to 10.
NIB New in Box. Mint in Box
The firearm is brand new, never fired, and comes in its original packaging with all documentation and accessories intact. It is in the same condition as it was when it left the factory.

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A

9 on a scale of 1 to 10.
Mint. Like New
The firearm may have been fired but shows no signs of wear. It looks as though it just left the factory, with perfect bluing and no blemishes on the wood or metal.

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A-

8 on a scale of 1 to 10.
Near Mint Unused
The firearm has been never been used but with minimal signs of handling. It retains all of its original finish, with minor wear that may be visible on sharp edges or the muzzle.

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B+

7 on a scale of 1 to 10.
Excellent Unused
The firearm shows light usage with minor wear. The wood and metal surfaces are clean with no significant scratches or dents. The bluing may be slightly worn at the muzzle or high points.

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B

6 on a scale of 1 to 10.
Very Fine Unused
The firearm is in very good condition, showing some minor handling marks. The finish remains mostly intact with only light wear, and all parts function perfectly.

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USED GRADES
Firearms that have been fired and carried in the field are USED. They have been in circulation, meaning they have been handled, fired, carried, sometimes for decades. As a result, they are worn to one degree or another. Collectors have established the following grades for rating just how used a firearm actually is:.

B-

5 on a scale of 1 to 10.
Fine Used
The firearm is in good working order with some signs of wear. There may be light scratches, minor dings, and slight bluing loss. However, the firearm remains fully functional and aesthetically pleasing.

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C

4 on a scale of 1 to 10.
Very Good Used
The firearm shows noticeable wear from regular use. Surface scratches, small dents, and moderate bluing loss may be present. The wood might have some bruising, but the firearm remains functional.

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C-

3 on a scale of 1 to 10.
Good Used
The firearm is in safe working condition but shows clear signs of heavy use. There may be rust, pitting, or other imperfections on the metal. The wood may have significant dings or scratches.

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D

2 on a scale of 1 to 10.
Fair Used
The firearm is well-worn with visible rust or pitting. Parts may need replacement, but the firearm remains functional. The wood may be cracked, and the finish may be largely gone.

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F

1 on a scale of 1 to 10.
Poor
The firearm is inoperable or requires extensive restoration. It may have broken parts, deep rust, or pitting. The finish is largely gone, and the wood is significantly damaged. It holds little value except as a project or parts gun.

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Additional Grading Standards and Desirable Guns

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The NRA Firearm Condition Standards

The National Rifle Association (NRA) provides one of the most widely recognized grading systems for firearm condition. This system is divided into two categories: modern firearms and antique firearms. It’s important to use the correct category as the grading terms may be similar but have different meanings.

NRA Modern Gun Condition Standards

New: A firearm that has not been previously sold at retail and is in the same condition as current factory production.

Perfect (or As New): In new condition in every respect, though it may have been sold at retail.

Excellent: Used very little, with no noticeable marring of wood or metal. The bluing is perfect except possibly at the muzzle or sharp edges.

Very Good: In perfect working condition with no appreciable wear on working surfaces. There may be minor surface dents or scratches, but no corrosion or pitting.

Good: Safe and functional, with minor wear on working surfaces. No broken parts, and any corrosion or pitting does not interfere with proper functioning.

Fair: Safe and functional, but well-worn. May require minor maintenance or replacement of parts. There should be no rust, but some corrosion pits may be present.

NRA Antique Firearm Condition Standards

Factory New: All original parts, with 100% original finish, and in perfect condition both inside and out.

Excellent: All original parts with over 80% of the original finish. The metal and wood should have sharp lettering, unmarred wood, and a fine bore.

Fine: All original parts with over 30% of the original finish. The metal and wood should have sharp lettering with minor marks, and a good bore.

Very Good: All original parts, with none to 30% of the original finish. Metal surfaces should be smooth with sharp edges and clear markings, while the wood may be slightly scratched or bruised.

Good: May have minor replacement parts, with smoothly rusted or lightly pitted metal. The principal markings should remain legible, and the wood may be refinished or repaired.

Fair: May have major parts replaced, with rusted or pitted metal. The principal markings may be partially obliterated, and the wood may be scratched, bruised, or cracked. The firearm may be in fair working order or easily repairable.

Poor: Requires major restoration with both major and minor parts needing replacement. The metal may be deeply pitted, and markings obliterated. The firearm is likely inoperative and generally undesirable as a collector's item.

Blue Book of Gun Values - Percentage of Original Finish System

This system focuses on the percentage of the original finish remaining on the firearm’s metal surfaces. It is widely used but does not apply if the firearm has been refinished or has no original finish remaining. The Blue Book system is only applicable to the original factory finish.

Standard Catalog of Firearms

This guide uses grading terms similar to the NRA system, but with different definitions, especially for antique firearms. For example, an antique firearm rated "Excellent" under the NRA system might only receive a "Very Good" rating in the Standard Catalog, which can affect its value.

Highly Sought-After Firearms in Great Condition

Certain firearms are highly sought after by collectors, particularly when they are in excellent condition. Here are a few examples:

Colt Single Action Army Revolver (Pre-WWII): Known as "The Peacemaker," this revolver is iconic in American history. In excellent condition, it can command a premium price.

Winchester Model 1873 Rifle: Often called "The Gun that Won the West," a Model 1873 in excellent condition is highly desirable among collectors.

Luger P08 Pistol: This German semi-automatic pistol from World War I and World War II is a favorite among military collectors. A well-preserved Luger P08 can fetch a significant price.

M1 Garand Rifle: The standard-issue rifle for U.S. forces during World War II and the Korean War. An M1 Garand in excellent condition is a prized possession for military history enthusiasts.

Grading the condition of a firearm is an essential skill for any collector. Whether you’re buying, selling, or simply appraising a firearm, understanding the different grading systems and their definitions will help ensure accurate valuations. Remember, the condition of a firearm can greatly influence its value, so take the time to assess it properly using the appropriate standards. With this knowledge, you can make informed decisions and potentially find or maintain highly sought-after pieces in your collection.

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Pennies, those small copper coins often overlooked in our pockets and purses, may hold surprising value beyond their nominal worth. Many people wonder if their collection of old pennies is worth anything and who might be interested in purchasing them. Let's delve into the world of numismatics to uncover the potential value of old pennies and explore the market for these historic coins.

There are people who make a very good side hustle out of buying and selling old wheat pennies. They make dollars on the penny (LOL)! They find large lots of old pennies then turn around and sell them for a profit. How much do they get? Usually they can sell them for around $3.50 per pound. Penny dealers will buy any quantity up to 100,000 coins or 1000 pounds in weight. You should know that there are roughly 150 pennies per pound.

A wheat penny is any penny dated from 1909 to 1958. They are called "wheat pennies" because they have a sheaf of wheat on the reverse, or backside of the coin. In 1959, the sheaf of wheat was replaced with the Lincoln memorial, which is still on the reverse of our pennies today.

Wheat pennies were produced starting in 1909 to commemorate the 100th anniversary of Lincoln's birth. They were first issued on 2 August 1909 and were the first U.S. coins to feature a real person (Abraham Lincoln). As the coins began to circulate, controversy broke out over the letters V.D.B. on the coin, which were located on the bottom of the reverse side and were the initials of the penny's designer, Victor David Brenner. Many people thought that the New York sculptor’s initials did not need to be on the coin or were too prominent. Other people did not understand the meaning behind the initials or their purpose. One of the most valuable of the wheat pennies is a 1909 date with an S mint mark and the VDB initials in prominence. It is called the 1909 SVDB and can sell for as much as $1,000.00 or more in uncirculated 'like new' condition.

Wheat pennies are very common, but some rare dates are worth dollars, not pennies. However, they are rare for a reason. You could spend a lifetime searching through mountains of wheat pennies and never find a rare date. Finding a rare penny is like winning the lottery.

It is much more profitable to deal in bulk. Buy them whenever you have the chance at flea markets, yard sales, estate sales, then turn around and sell them to a reputable penny buyer for a profit.

Understanding the Value

The value of old pennies can vary significantly based on factors such as rarity, condition, and historical significance. While most pennies circulated in the United States are common and hold little numismatic value, certain rare dates, mint marks, and errors can make a penny worth considerably more to collectors.

Rare Dates and Mint Marks

Pennies minted in specific years or bearing unique mint marks are often highly sought after by collectors. For example, the 1909-S VDB Lincoln cent, featuring the initials of designer Victor David Brenner, is considered a numismatic treasure due to its low mintage and historical significance. Similarly, pennies from the early years of the United States Mint, such as the 1793 Chain cent or the 1799 "9 over 8" variety, command premium prices at auction.

Error Coins

Mistakes during the minting process can also lead to valuable error coins. Examples include double strikes, off-center strikes, and die cracks, among others. Collectors are often drawn to these unique specimens due to their rarity and the intriguing stories behind their production.

Condition Matters

In the world of coin collecting, condition is paramount. Coins in pristine, uncirculated condition are highly desirable and can command significant premiums compared to their more worn counterparts. Factors such as luster, surface preservation, and absence of blemishes play crucial roles in determining a coin's grade and, consequently, its value.

The Market for Old Pennies

Numerous avenues exist for selling old pennies, ranging from online marketplaces and auction houses to coin shops and specialized dealers. Collectors and enthusiasts actively seek out these coins to add to their collections or invest in numismatic assets.

Who Buys Old Pennies?

Coin collectors, investors, and dealers are the primary buyers of old pennies. Collectors often pursue specific date and mint mark combinations to complete sets or assemble thematic collections. Investors may view old pennies as tangible assets with potential for appreciation over time, particularly in the case of rare or historically significant specimens. Dealers, meanwhile, buy and sell old pennies as part of their numismatic business, leveraging their expertise to assess value and negotiate transactions.

Conclusion

While not every old penny is worth a fortune, many hold value beyond their face value to collectors and investors alike. By understanding the factors that contribute to a penny's worth and exploring the vibrant market for these historic coins, individuals can unlock the hidden treasures lurking within their coin collections.

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The Jaeger Bros Knife Company is a relatively lesser-known name in the history of American cutlery, but it has a distinct story rooted in craftsmanship. Based in Newark, New Jersey, Jaeger Bros was established in the late 19th century by brothers Henry and Louis Jaeger. They were part of a wave of German immigrants who brought their knowledge of blade-making to the United States, a common trend as German craftsmen were highly skilled in the art of knife and tool production.

Key Highlights:

1. Founding and Early Years:

The Jaeger Bros Knife Company was founded in the 1880s. The Jaeger brothers initially started as knife grinders and cutlers, applying the techniques they learned in Germany to the American market.
Newark, NJ, where they were based, was an industrial hub at the time, known for its production of cutlery, tools, and other metal goods.

2. Product Line:

The company produced a wide range of knives, including kitchen knives, hunting knives, and utility knives. They were known for their craftsmanship, using high-quality carbon steel for the blades, which offered excellent edge retention.
The Jaeger Bros also made specialty knives, catering to trades like leatherwork, woodworking, and butchering, where precise cutting tools were essential.

3. Business Growth and Legacy:

Jaeger Bros gained a reputation for quality, especially in the Northeastern U.S. Their products were used in both domestic and industrial contexts.

By the early 20th century, the company had a loyal customer base, but like many small knife manufacturers of the time, it faced increasing competition from larger firms and imported knives.

4. Closure and Collectible Status:

The exact date of the company's closure is uncertain, but it likely ceased operations by the mid-20th century, possibly due to the economic impacts of the Great Depression or the rise of cheaper, mass-produced knives.

Today, Jaeger Bros knives are considered collectible items. They are sought after by enthusiasts of vintage American cutlery, who value them for their craftsmanship and historical significance.

In the current market, Jaeger Bros knives often appear in auctions and antique shops, typically fetching higher prices when in good condition due to their rarity and historical appeal.

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Carl Schlieper’s German Eye knives have captivated collectors and knife enthusiasts worldwide, celebrated for their superior craftsmanship, historical significance, and enduring appeal. This article delves into the fascinating story of Carl Schlieper’s knives, offering insights into their origins, key features, and collectibility.

Origins of Carl Schlieper’s German Eye Knives

The Carl Schlieper Company was established in the 18th century in Remscheid, Germany. Initially a trading company, it exported a diverse array of goods, including tools, hardware, and industrial machinery, to markets across Southeast Asia and Europe. By the late 19th century, the company expanded its operations to Solingen, a city renowned for its blade-making tradition.

The “Eye Brand” trademark, represented by a distinctive eye logo, emerged during this time, symbolizing quality and durability. Over the years, Carl Schlieper knives became synonymous with Solingen’s legendary craftsmanship.

Characteristics of German Eye Knives

High-Quality Materials
German Eye knives are primarily made from Solingen carbon steel, prized for its sharpness and edge retention. Some models also feature stainless steel for added durability. Handles are crafted from premium materials such as bone, stag, and wood, ensuring a balance of utility and aesthetic appeal.

Traditional Designs
The knives feature classic pocketknife patterns like Trapper, Stockman, and Copperhead. These designs reflect the needs of their primary users—farmers, ranchers, and outdoorsmen—offering both reliability and timeless style.

Hand-Finished Craftsmanship
Each German Eye knife is meticulously hand-finished, demonstrating the attention to detail characteristic of Solingen knife-making.

Popularity and Global Appeal

German Eye knives gained widespread popularity in the United States during the mid-20th century. They were cherished for their rugged functionality and elegant design. Farmers, hunters, and collectors alike found value in their reliability and heritage.

The brand also had a significant presence in European and Southeast Asian markets, where the Carl Schlieper Company exported numerous knife designs to meet regional demands.

Collectibility and Legacy

Vintage Appeal
Older models with original carbon steel blades and handles are highly sought after by collectors. The knives' durability and historical significance add to their value as prized collectibles.

Historical Significance
The Carl Schlieper Company’s role in shaping knife-making traditions in Solingen enhances the knives’ appeal. Vintage catalogs reveal the company’s extensive range of products, including slipjoints, bowie knives, and hunting daggers.

Rarity and Fakes
The liquidation of Carl Schlieper in 1993 and subsequent changes in production have increased the rarity of authentic German Eye knives. However, collectors should be cautious of counterfeits, which can diminish the investment value of these knives.

The Modern Era of German Eye Knives

Although the Carl Schlieper Company ceased operations after its 1993 bankruptcy, the production of German Eye knives continued under Friedrich Olbertz, another Solingen-based manufacturer. While the production methods and scale have evolved, the knives retain their historical charm and functionality.

Carl Schlieper’s German Eye knives represent the pinnacle of Solingen’s knife-making heritage. Their exceptional craftsmanship, historical roots, and collectibility make them a favorite among knife enthusiasts. Whether you’re a seasoned collector or new to the world of knives, a German Eye knife is more than just a tool—it’s a piece of history.

Ready to Appraise Your Knife?

We specialize in evaluating collectible knives, offering you expert insights and accurate valuations. Whether you’re a collector, a seller, or simply curious, contact us today for a professional appraisal. Let us help you uncover the true value of your Carl Schlieper knives!

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For collectors of vintage guitars, few names spark intrigue quite like O'Hagan. Handcrafted in the United States during the late 1970s and early 1980s, these instruments are not just musical tools but pieces of American entrepreneurial history. Founded by Jerry O'Hagan in St. Louis Park, Minnesota, the company set out to produce high-quality, affordable guitars at a time when imports dominated the market. While O'Hagan guitars had a relatively short production run—ceasing operations by 1985—they remain cherished among collectors for their innovative designs and superior craftsmanship.

A Legacy of Innovation

Jerry O'Hagan was not only a skilled musician but also a visionary entrepreneur. His guitars were known for their neck-through-body construction, a feature typically associated with high-end models. By using a combination of maple and walnut, O'Hagan achieved enhanced sustain and precise string alignment, making his guitars stand out in a crowded market.

O'Hagan's debut model, the Shark, launched in 1979. Its bold design drew inspiration from the iconic Gibson Explorer, but it offered a level of comfort and playability that earned it a dedicated following. The Shark was particularly appreciated by seated players, making it a versatile choice for both studio and stage work.

The company quickly expanded its lineup with models like: NightWatch: A single-cutaway design reminiscent of the Les Paul, appealing to players seeking classic aesthetics paired with modern features.
Twenty Two: A Flying V-style guitar that brought a futuristic edge to O'Hagan's offerings.
Laser: Introduced in 1981, this Stratocaster-inspired model featured a distinctive body shape and versatile tonal options, cementing O'Hagan's reputation for innovative design.

Many of these models were also available as bass guitars, and buyers could choose from various pickup configurations and finishes to tailor their instruments to their preferences.

A Brief but Impactful Run

Despite their exceptional craftsmanship, fewer than 3,000 O'Hagan guitars were produced before the company closed its doors in 1985. Factors like limited production capacity and competition from larger manufacturers made it challenging for the brand to scale. However, this limited output has only increased the desirability of O'Hagan guitars among collectors.

Why Collectors Love O'Hagan Guitars

For collectors, O'Hagan guitars represent the perfect blend of rarity, quality, and historical significance. Their unique designs and attention to detail set them apart from mass-produced instruments of the era. Additionally, the neck-through-body construction and premium materials used in O'Hagan guitars ensure they remain playable even decades later.

How Much Are O'Hagan Guitars Worth Today?

Given their scarcity and craftsmanship, O'Hagan guitars have become highly sought after in the vintage market. Prices vary based on the model, condition, and original components, but well-preserved examples can fetch thousands of dollars. Certain models, like the Shark or Laser, are particularly prized for their distinctive designs and limited production numbers.

Get Your O'Hagan Guitar Appraised

iGuide appraises rare and collectible guitars like those from O'Hagan. Whether you’re curious about the value of your instrument or looking to sell, our experts can provide a detailed assessment to ensure you get the most out of your investment.

O'Hagan guitars are more than instruments—they're a testament to American innovation and craftsmanship. Owning one is like holding a piece of music history, and their rarity ensures they’ll remain coveted by collectors for years to come.

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The descriptions of coin grades that follow are intended to outline the relative condition of coins in various states of preservation. These standards are based on trade practices recommended by The American Numismatic Association to avoid misunderstandings in the buying, selling, and advertising of coins.

When a coin in circulation starts to show signs of wear, only the highest parts of the design are affected. You will note that the highest points of the design become slightly rounded or flattened --- and that very fine details begin to merge together or fade away.

After a coin has been in circulation for a longer time, the entire design and surface will show obvious signs of wear. Most of the high points will lose their sharpness and the original luster will begin to fade. Further circulation will flatten out the sharpness and relief of the entire design. The high points will all begin to merge with the next lower parts of the coin's design.

UNCIRCULATED COIN GRADES

The term UNCIRCULATED, also referred to as MINT STATE, refers to a coin which has never been in circulation. It is UNUSED. Such a coin has no signs of wear from usage whatsoever.

Uncirculated coins can be divided into four major categories:

PERFECT UNCIRCULATED (MS-70). — The finest quality available. Such a coin under 4X magnification will show NO bag marks, lines, clouding, or other evidence of handling or contact with other coins.

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GEM UNCIRCULATED (MS-65). — An above average uncirculated coin which may be brilliant or highly toned and has very few bag contact marks or perhaps one or two very light rim marks.

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CHOICE UNCIRCULATED (MS-63). — Has some distracting contact marks or blemishes in prime focal areas. Luster may be impaired.

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UNCIRCULATED (MS-60). — Refers to a coin which has a moderate number of bag marks on its surface. A few minor edge nicks may be present, although they must not be of a serious nature. Surface may be spotted or lack some luster.

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CIRCULATED COIN GRADES

Circulated coins are USED. They have been in circulation, meaning they have been handled, pocketed, and carried, sometimes for decades. As a result, they are worn to one degree or another. Coin collectors have established the following grades for rating just how used a coin actually is:
CHOICE ABOUT UNCIRCULATED-55 (AU-55). Only a small trace of wear is visible on the highest points of the coin. As in the case with other grades here, specific information is listed in the Official ANA Grading Guide under the various types, for wear often occurs in different spots on different designs.

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ABOUT UNCIRCULATED-50 (AU-50). Only a small trace of wear is visible on the highest points of the coin. As in the case with other grades here, specific in format.

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Choice About Uncirculated-55 (AU-55). With traces of wear on nearly all of the highest areas. At least half of the original mint luster is present.

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CHOICE EXTREMELY FINE-45 (EF-45 or XF-45). With light overall wear on the coin's highest points. All design details are very sharp. Mint luster is usually seen only in protected areas of the coin's surface such as between star points and in the letter spaces.

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EXTREMELY FINE-40 (EF-40 or XF-40). With only light wear but more extensive than the preceding, still with excellent overall sharpness. Traces of mint luster may still show.

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CHOICE VERY FINE-30 (VF-30). With light even wear over the surfaces; design details on the highest points lightly worn, but with all lettering and major features sharp.

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VERY FINE-20 (VF-20). As preceding but with moderate edge wear on highest parts.

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FINE-12 (F-12). Moderate to considerable even wear. Entire design is bold. All lettering, including the word LIBERTY (on coins with this feature on the shield or head band) visible, but with some weaknesses.

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VERY GOOD-8 (VG-8). Well worn. Most fine details such as hair strands, leaf details, and so on are worn nearly smooth. The word LIBERTY if on a shield or headband is only partially visible.

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GOOD-4 (G-4). Heavily worn. Major designs visible, but with faintness in areas. Head of liberty, wreath, and other major features visible in outline form without center detail.

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ABOUT GOOD-3 (AG-3). Extremely heavily worn with portions of the lettering, date and legends being worn smooth, the date barely readable.

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The use of credits or tokens as a form of currency within platforms allows users to pay for access to premium services, content, or features without the burden of yet another recurring monthly subscription fee. It also enables a "micro-payments" strategy. This strategy provides a flexible and user-centric approach to monetization, especially popular in Software as a Service (SaaS), digital platforms, and online services sectors.

Key Elements of the Strategy

• Flexibility: Users can purchase credits in advance and use them at their discretion, offering a pay-as-you-go model that is often more attractive than fixed subscriptions.
• User Engagement: By allowing users to decide how and when to spend their credits, platforms can increase engagement and customer satisfaction.
• Incremental Revenue: This model encourages users to keep returning and spending on the platform, providing a steady revenue stream.
• Scalability: Adding new services or content for users to spend credits on can scale revenue growth effectively.

Successful Examples

Several industries broadly apply this model effectively:

• Gaming Platforms: Many online games use credits for in-game purchases, character upgrades, or to unlock special content.
• Cloud Computing Services: Platforms like Amazon Web Services, Google Cloud, and Microsoft Azure adopt a pay-as-you-go model where users pay for the compute resources they consume, akin to spending credits.
• Online Education Platforms: Sites like Udemy or Coursera allow users to buy courses individually, offering a form of credit spending on education.
• Stock Media: Shutterstock and Getty Images let users purchase credits to download images or videos, providing flexible access to media assets.
• API Services: Similar to Metals-Api, many API providers use a credit system where developers pay for the amount of API calls they make, optimizing costs based on usage.

Future of Credit-Based Monetization in SaaS

The credit-based monetization strategy presents a promising future for revenue generation in the SaaS and digital services landscape. Its flexibility caters to the growing demand for personalized and user-driven consumption models. As customers increasingly seek control over their spending and access to services, platforms that offer granular, usage-based pricing models like credits will likely see higher engagement and customer loyalty.

This model also aligns with the broader trends of digital transformation and the subscription economy, where users are accustomed to paying for exactly what they use rather than blanket access. As technology continues to evolve, we can expect to see more innovative applications of this strategy, potentially integrating with emerging technologies like blockchain for transparent and secure transactions.

In conclusion, the credit-based model offers a scalable, flexible, and user-focused approach to monetization that can significantly enhance customer satisfaction and loyalty while providing a steady revenue stream for SaaS and digital platforms. Its adaptability and alignment with current consumer preferences suggest it will continue to play a crucial role in the future of SaaS revenue generation.

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Asset banking involves strategically managing and leveraging valuable assets, both tangible and intangible, to safeguard, grow, and utilize wealth effectively. Unlike cash deposits, which can be limited by insurance thresholds, asset banking allows individuals to diversify their holdings and capitalize on the inherent value of their possessions.

Asset Types

1. Real Estate
Land Long-term investment, often appreciating over time.
Expensive Homes A popular method for the wealthy to "safe park" capital. However, property taxes and maintenance costs can erode the capital invested over time.

2. Personal Property
Fine Art Sought-after as a hedge against economic downturns.
Collectibles Rare items like vintage cars or historical artifacts hold value and often appreciate.

3. Precious Metals
Gold Coins and Bullion Universally recognized as a stable investment.
Silver A more affordable entry point into precious metals investing.

4. Financial Assets
Stocks and Bonds Traditional investment vehicles for growth and income.

5. Digital Assets
Cryptocurrency Digital currency that offers high growth potential but is volatile.
NFTs (Non-Fungible Tokens) Unique digital collectibles tied to art, media, or virtual goods.

Why Asset Banking?

Asset banking provides benefits that go beyond traditional savings accounts, particularly for individuals with substantial wealth:

FDIC Limits With FDIC insurance covering only $250,000 per account (or $500,000 for joint accounts), asset banking becomes essential for safeguarding larger amounts of liquid wealth.
Income Assets like rental properties or stocks generate steady income streams.
Collateral Assets can secure loans or lines of credit.
Risk Management Spreading wealth across asset types reduces risk.
Hedge Against Inflation Assets like real estate and gold often increase in value as inflation rises.
Growth Assets such as stocks and collectibles appreciate over time.
Revenue Generation Renting or selling assets can produce income.

Difference from Shadow Banking

While asset banking focuses on the strategic use of personal and tangible wealth, shadow banking refers to non-traditional financial intermediaries (like hedge funds or private equity firms) that operate outside regulated banking systems. Shadow banking is often criticized for its lack of transparency, whereas asset banking emphasizes secure and informed asset management.

References

U.S. Federal Reserve Information on FDIC insurance limits
The Art Market 2024 Reports on fine art investment trends.
World Gold Council Data on precious metal performance.
Blockchain.com Cryptocurrency valuation insights

Summary

Asset banking is a critical strategy for individuals and institutions seeking to manage significant wealth beyond the confines of traditional banking. It provides flexibility, security, and growth potential through diversification into real estate, collectibles, precious metals, and digital assets. However, accurately evaluating these assets is essential to making informed decisions.

iGuide is a leader in valuation of collectible and tangible assets, providing real market data to ensure your asset portfolio reflects its true value. Accurate appraisals are the cornerstone of successful asset banking, and iGuide delivers the expertise and tools needed to succeed.

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iGuide.net is a platform dedicated to providing current market values and pricing information for tangible assets. The site is known for its database that tracks real-time auction results, sales data, and other relevant market information to give users accurate and up-to-date pricing for a wide range of items.

Key Features of iGuide.net:

1. Pricing Guides:
iGuide offers pricing guides for different types of collectibles, including coins, gold, silver, diamonds, comics, toys, trading cards, and more. The prices are based on real sales data, making them reliable for collectors and sellers.

2. Marketplace Analysis:
iGuide provides insights into the marketplace, helping users understand trends and how values change over time.

3. Searchable Database:
Users can search for specific items to find their current market value, which can be very helpful for those looking to buy, sell, or appraise items.

4. Auction Tracking:
iGuide.net tracks auction results from various sources to provide users with the most accurate pricing based on recent sales.

5. Collecting Tools:
The site also offers tools and resources to help collectors manage and organize their collections.

iGuide positions itself as an authoritative source of truth for collectible pricing, focusing on accuracy and data-driven valuations.

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A recent visitor wrote, "I appreciate all you folks do, but I can't help wonder—how does iGuide make money?"

The quick answer? Money doesn't matter! Or, to put it another way, making money isn’t the reason we’re here. Our mission is pretty straightforward: we’re here to help people discover the value of their things.

After decades of working in the collectibles industry, we’ve had the privilege of seeing how meaningful it is for people to discover the monetary value of the items they cherish. Whether it’s a treasured family heirloom, a unique collectible, or a one-of-a-kind find, we believe everyone deserves access to accurate, honest information. That’s why iGuide exists. It’s a resource—one that’s rooted in real market data, not guesswork.

We didn’t create iGuide with the aim of building a business for profit. Instead, we see it as a way to give back and help others, sharing the insights we’ve gained over the years. We’re driven by the belief that knowledge, especially when it comes to something as personal as your heirlooms or collections, should be available to everyone.

So, if you’ve ever used iGuide to check the value of a cherished item, or maybe even learn a little history behind it, that’s all the reward we need.

For us, it’s about sharing our knowledge, not making money.

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The 78 RPM Record Collecting Hobby uses a grading system known as the VJM Grading System. The VJM Record Grading System is an internationally-used and recognized system for grading both 78s and LPs. It is used by virtually all jazz, blues, personality and most pre-war record dealers and collectors alike, with an easily understood sequence of letters to show grades and a system of abbreviations to show faults and damage. The first grading system to be adopted by jazz record collectors was devised by the publishers of Record Changer magazine in the 1940s, and the system now known as the VJM Grading System is a refined version of the former, introduced in the early 1950s.

The VJM System has never been, however, aligned with a 10-point system. We have attempted with this guide to match the VJM system to a 10-point system, because, in our opinion, new collectors feel more secure with "sight unseen" Internet buying when they are familiar with a 10-point grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

This VJM/10-point scale for grading  is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

C10 = N : Store Stock New

As new and unplayed.

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C9 = N-

Nearly New, but has been played. No visible signs of wear or damage.

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C8 = E+

Plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of sleeves.

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C7 = E : Excellent

Still very shiny, near new looking, with no visible signs of wear, but a few inaudible scuffs and scratches.

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C6 = E-

Still shiny but without the luster of a new record, few light scratches.

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C5 = V+

V+ is an average condition 78 in which scuffs and general use has dulled the finish somewhat. Wear is moderate but playing is generally free from distortion. Surface noise not overly pronounced.

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C4 = V : Very Good

Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive.

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C3 = V-

Quite playable still, but distortion and heavy greying in loud passages. Music remains loud in most passages. Surface noise and scratches well below music level.

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C2 = G+

Grey throughout but still serviceable. Music begins to sound muffled. Heavy scratches.

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C1 = G : Good

Quite seriously worn and scratched, but music level is stillhigher than surface noise.

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G- ; F ; and P

The VJM system has these designations for records in extremely poor condition. We do not place these on the 10-point scale because records in this condition have little or no value. In cases where the record is extremely rare, it would be worth the C1 price.

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GLOSSARY OF TERMS

sfc = surface
lbl = label
nap = not affecting play
scr/scrs = scratch/scratches
lc or lam  = lamination crack
cr = crack
gv/gvs= groove/grooves
hlc/hc = hairline crack
wol = writing on label
sol = sticker on label
fade = faded label
eb = edge bite
ec = edge chip
ef =edge flake
cvr = cover
s = stereo
rc= rim chip
rf = rough;
aud/inaud = audible/inaudible
lt = light

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Morgan and Peace Silver Dollars are iconic U.S. coins minted from 1878 to 1921 (Morgan) and 1921 to 1935 (Peace). Composed of 90% silver and 10% copper, these coins are sought after by collectors and investors alike. However, the market has been flooded with fakes, particularly from Chinese counterfeiters, casting doubt on authenticity and nearly ruining trust in these historic coins.

Fortunately, one reliable way to authenticate these coins is by checking their weight. Authentic Morgan and Peace dollars should weigh between 26.5 to 26.8 grams, with slight variances due to wear over time. Any coin weighing less than 26 grams is highly likely to be fake.

If you're unsure about the authenticity of your silver dollars, don't take chances. Get a free appraisal at iGuide.net. Protect your investment and ensure your treasures are the real deal!

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Walter L. Kneubuhler (1906–1982) remains a revered name in the world of custom knives, celebrated for his impeccable craftsmanship and dedication to historical authenticity. Born in Antwerp, Ohio, on July 13, 1906, Kneubuhler’s journey into knife making began humbly, forging tools for everyday use on his family farm. His early creations, kitchen and butcher knives for his mother, demonstrated a knack for turning ordinary materials into functional and enduring tools.

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From Hobbyist to Master Knife Maker

Kneubuhler's interest in black powder firearms in the 1960s spurred a new creative venture: crafting traditional accessories. His skill quickly gained recognition among collectors and enthusiasts, encouraging him to pursue knife making full-time after retiring in 1968. This marked the birth of W.K. Knives, a brand synonymous with artistry and reliability.

His most iconic creations, such as the "Mountain Man" and "Jedediah Smith" models, reflect Kneubuhler's passion for American history and his dedication to authenticity. These knives not only served practical purposes but also celebrated the craftsmanship of early American pioneers, blending utility with aesthetics.

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A Collector’s Treasure

Today, Walter Kneubuhler's knives are highly coveted by collectors worldwide. Prestigious platforms like Arizona Custom Knives and Michigan Custom Knives frequently showcase his works.
Notable pieces include:

• - Daggers and Bowie Knives, praised for their intricate detailing.


• - The "Jedediah Smith" model, a masterpiece featuring a D-2 steel blade and a polished rosewood handle, exemplifying Kneubuhler's ability to merge durability with elegance.

The rarity and quality of his knives have cemented their value in the collectible market, often commanding premium prices.

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A Legacy Continued

Following Kneubuhler's passing on June 14, 1982, his apprentice, David Votaw, took up the mantle to preserve the W.K. Knives tradition. Votaw’s work ensures that Kneubuhler's legacy of creating historically inspired, handcrafted knives lives on, bridging the gap between functional tools and collectible art.

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How Much Are Walter L. Kneubuhler Knives Worth Today?

The value of Kneubuhler’s knives depends on factors such as condition, rarity, and historical significance. Some models, especially limited-edition pieces or those with unique materials, can fetch thousands of dollars in the secondary market. Collectors prize these knives for their craftsmanship, historical connection, and enduring utility.

If you own a Walter Kneubuhler knife and are curious about its value, an appraisal can provide insights into its worth and help you decide whether to preserve, sell, or display this piece of history.

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Ready to Appraise Your Knife?

We specialize in evaluating collectible knives, offering you expert insights and accurate valuations. Whether you’re a collector, a seller, or simply curious, contact us today for a professional appraisal. Let us help you uncover the true value of your Walter Kneubuhler knife!

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Lincoln pennies are some of the most iconic and widely collected coins in U.S. history. First minted in 1909 to commemorate the 100th anniversary of Abraham Lincoln's birth, these coins have captured the attention of collectors for over a century. From rare errors to valuable variations in metal composition, Lincoln pennies tell a story of American history and economic evolution. Their affordability and abundance make them an ideal starting point for beginner collectors, while rarer pieces appeal to seasoned numismatists.

This List of Rarities and Varieties of Lincoln pennies is a comprehensive reference for collectors seeking to identify and understand the most sought-after and valuable coins in the Lincoln penny series.

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1909-S VDB
1909-S
1909-S Over horizontal S
1910 With V.D.B. or 09' Reverse
1911-S
1911-D Over D (RPM)
1914-D
1914-S
1917 Doubled Die Obverse
1922 No D
1927 ddo
1931-S
1935 ddo
1936 ddo 1-3
1936 Doubled Die Obverse
1936 Doubled die obverse, the date, LIBERTY and IN GOD WE TRUST has some doubling.
1941 Doubled die reverse: Doubling of the date and LIBERTY.
1943-D steel The D is stamped over another D (RPM).
1943 copper
1943-D copper
1944 D/S Variety 1
1944 D/S Variety 2
1944-D D over S the mint mark D is stamped over the S.
1946-S S Mint mark stamped over a D mint mark.
1946 S/D
1946 inverted s
1955 Doubled die
1955-D Stamped over a horizontal D.
1955 ddo#2
1955 No VDB.
1955 Lincoln Wheat Cent Double Die cent.
1956-D D Stamped over a D mint mark.
1958 Doubled die obverse.
1959-D First year for Memorial reverse, check for wheat reverse.
1960-D D over D RPM
1960 Look for Small Date variety, the 6 has a shorter stem than normal.
1963-D Check to see if the 3 in the date is struck over another 3.
1968-D D mint mark stamped over another D.
1968-D Doubled die reverse, strong doubling in the word AMERICA.
1969-S Lincoln Memorial double die, all design features strongly doubled.
1970-S Doubled die
1970-S Small date Lincoln Cent with a doubled die reverse, strong doubling of TRUST & LIBERTY.
1970-S Small Date high 7.
1970-S Level 7. The 7 is level with rest of date.
1971 Doubled die obverse, strong doubling on LIBERTY & IN GOD WE TRUST.
1972 Lincoln Memorial Cent with a doubled date.
1973 No V.D.B.
1980-D A shadow of an S mint mark struck above the D.
1982 Doubling of IN GOD WE TRUST.
1982 DDR
1983 Doubled die reverse doubled, IN GOD WE TRUST doubled.
1984 Doubled ear, look at the ear lobe.
1984-D Doubled Date
1988 Double Ear
1989 No VDB.
1992 Close AM
1992-D Close AM
1994 Doubling of the last three columns on reverse.
1995 Doubled die, LIBERTY doubled.
1995 Doubled die obverse, strong doubling of the date and LIBERTY.
1996 Wide AM *Unconfirmed
1997 Doubled Die, look at the ear lobe like the 1984.
1998 Wide AM reverse Lincoln Memorial Cent.
1999 Wide AM reverse Lincoln Memorial Cent.
1999 There may be double dies varieties.
2000 Wide AM in America.
2003 May be doubling of the steps, experts say “yes”, mint says “no”.
2006 Doubled Die Obverse
2009 Look for doubling of the thumb, boot and other features (several known varieties)
2011 Doubling of letters and shield

Lincoln pennies offer a unique blend of history, artistry, and collectibility that continues to captivate numismatists of all levels. Whether you’ve inherited a collection or stumbled across an intriguing penny in your pocket change, determining its value requires a keen eye and expert evaluation. Having your Lincoln pennies appraised can uncover their true worth and provide valuable insight into their historical significance.

Get a free appraisal and discover the potential hidden in your collection!

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Case knives have long been treasured by collectors and enthusiasts for their craftsmanship, durability, and unique history. One of the key elements that makes Case knives so appealing is their wide variety of handle materials, which not only enhance the knife's functionality but also contribute to its aesthetic and collectible value. Understanding the tang stamp codes and the materials used in Case knife handles is essential for accurately identifying, dating, and appraising these timeless tools.

This guide provides a detailed breakdown of the tang stamp codes and their corresponding handle materials, offering valuable insights into what makes each knife unique. Whether you're a seasoned collector or new to the world of Case knives, this resource will help you better understand the significance of handle materials and how they impact a knife's value.

Case Handle Materials Tang Stamp Codes

Case used pattern numbers imprinted on the tang stamp and on the boxes of their knives to identify handle materials and other pertinent information. The first number of the tang stamp is the handle materials code.

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1 - Hardwood
This number is usually used for a hardwood, such as walnut. Walnut is a very durable and rugged hardwood used for working knives, such as the 1199SH Pattern and the 12031 electrician's knife.

2 - Smooth Black Synthetic
Black poured plastic molded handles usually made from Delrin® or Thermoplastic Rubber.

3 - Yellow Synthetic
Smooth yellow poured plastic molded handles, called Delrin®.

4 - Smooth Synthetic
Poured plastic or Delrin® molded handles made in most any color except black and yellow.

5 - Stag
Naturally shed or dropped deer antlers are used for the Stag handles in Case knives. The most desirable Stag comes from the Sambar or Chital deer in India. Stag covers are burned lightly during the completion process.

5 XX Prime Stag
Genuine India Stag with an extra rough texture - the best of the best.

M5 - Midnight Stag
Genuine Stag except it is treated with a black dye and the covers do not get burned during completion.

R5 - Red Stag
Genuine Stag except it is treated with a red dye and the covers do not get burned during completion.

V5 - Vintage Stag
Genuine Stag that is not dyed or burned during the manufacturing process, but is given extra buffing and hand finishing.

6 - Bone, Wood, Delrin
Procured from Brazil, the shin bone of the Zebu cattle is the main source of bone suitable for Case bone handle materials.

Jigged Synthetic
Plastic molded covers with a jigged pattern.

Jigged Laminate
Laminated wood with a jigged pattern, such as used on the Folding Hunter.

V6 - Vintage Bone
Natural Bone with a special jigging pattern which has similar characteristics to stag.

6.5 - 6.5 BoneStag®
A Case registered trademark, 6.5 BoneStag® is a bone handle which is jigged and treated with flame to achieve the look of stag antler material.

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7 - Rosewood
A handle material that comes from a number of hardwood trees from rain forests. It has a rose-colored effect and is becoming more rare. Case used this in many of their outdoor knives.

7 - Curly Maple
A knurly section of wood from a maple tree is used for handle material. The wood has a curled design, giving it a very distinct look.

7 - Curly Oak
A knurly section of wood from an oak tree is used for handle material. The wood has a curled design, giving it a very distinct look.

7 - Ebony
Comes from Africa. This black wood is also used in woodwind instruments.

7 - Desert Iron Wood
Comes from the deserts of SW America or Mexico, a heavy wood which is regarded as some of the most beautiful wood anywhere.

7 - Boi D'arc Wood
Comes from the Osage tree of Texas. This dense yellowish-orange wood is used frequently by Native Americans.

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7 - Zebra Wood
Comes from Africa, a hard, dense, beautiful wood, naturally striped like a Zebra.

7 - Tulip Wood
Comes from the Tulip trees, found in jungles and North America.

7 - Lace Wood
Comes from Burma Rain Forest and is a hardwood.

7 - Snake Wood
Comes from South America and is considered the heaviest wood on earth.

7 - Amboyna
Comes from SE Asia. Only the burls from the Narra tree are used to give the numerous, beautiful swirls that come out in the Amboyna handles.

8 - Mother-of-Pearl
Natural shells harvested by deep sea divers in various parts of the Pacific Ocean.

8 - Abalone/ Paua
Gathered in Mexico, Abalone shells are cut into thin "feathers," edges are glued in thin sheets with each sheet's color matched and then laminated with high pressure into sheets for handle material. Paua is a similar shell found in New Zealand.

8 - Pink Mother-of-Pearl
Only pearl shells which are found in fresh water; no artificial color or enhancements added.

8 - Black Mother-of-Pearl
Rare shell harvested by deep sea divers in various parts of the Pacific Ocean; no artificial color or enhancements added.

9 - Corelon
A synthetic resin handle material developed in a wide variety of colors and patterns - similar to an imitation Mother-of-Pearl.

9 - Imitation Mother of Pearl
Not currently used at Case. Imitation Pearl is a composite material that looks like Mother-of-Pearl.

10 - Micarta
High pressure plastic laminate with either a paper or cotton cloth reinforcement substrate is used to make micarta. Micarta is a very durable handle material which is waterproof, impact-resistant, and polishes well. The lines and swirls that show in the finished knives are these layers of paper or cotton cloth.

10 - G-10
Using the same process as Micarta, G-10, however, has a glass cloth reinforcement substrate for exceptional strength characteristics with a very high impact and tensile strength. The lines and swirls that show in the finished knives are these layers of glass cloth.

B - Celluloid
Waterfall is celluloid, cream in color with a ripple design resembling a waterfall.

CT - Christmas Tree Celluloid
Christmas Tree is a very colorful celluloid with green, reds, and some gold.

EX - Exotic
EX indicates that the handle material used is from a variety of the most unique and desirable materials available, such as precious gemstones, giraffe and ostrich bones, etc.

GS - Celluloid
Goldstone is celluloid, colored with gold metal flakes.

I - Ivory
Since the last ice age, the Mammoth Ivory tusks have been locked in ice for some 12,000 years. This is perhaps the most beautiful and exotic of all handle materials which Case uses.

I - Imitation Ivory
Not currently used at Case. Imitation Ivory is a composite material that looks like natural ivory.

P - Pakkawood
A laminated wood typically birch or maple, impregnated with clear resin and bonded together. Pakkawood has the natural beauty of finished wood and a high resistance to heat and moisture, especially developed for Case handles in 1948.

R - Celluloid
Candy Stripe is a celluloid material colored in a striped (vertical or horizontal) design.

M - Metal
Stainless Steel handles are most common.

Collecting Case knives is both a rewarding hobby and an excellent investment, but accurately determining their value requires expertise. The handle material and tang stamp codes play a significant role in assessing a knife's rarity and desirability among collectors. If you own Case knives and are curious about their worth, consider having them professionally appraised. A knowledgeable appraiser can provide you with insights into your knife's history, authenticity, and market value, helping you make informed decisions about your collection. Reach out today to get your Case knives appraised and uncover their true value!

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We’ve all heard it said: “This item is rare, so it must be valuable.” But is that actually true? The simple answer is: not necessarily. While rarity can certainly be a factor in determining value, it isn't the only one. In fact, an item can be incredibly rare but still lack significant monetary value. This seeming contradiction can be explained by one key concept in economics: DEMAND.

The Interplay of Rarity and Demand

Economics teaches us that value is largely determined by the interaction of supply and demand. The law of supply and demand tells us that when something is scarce (i.e., when supply is low), its price tends to increase, but only if demand exists. Simply being rare isn’t enough—there must also be a market of people willing to pay a premium to acquire it.

Let's break this down further. Imagine an old book written by a local poet and printed by a small-town press in the 1920s. This book might be one of only three remaining copies in the world. By definition, that makes it rare. However, if no one is particularly interested in that book, if it’s not linked to a famous author, or if it doesn’t have cultural or historical significance, the demand for it is close to zero. As a result, its market value will be negligible, despite its rarity.

This principle aligns with a core concept in economics called utility. Utility refers to the satisfaction or benefit derived from consuming a product. If a rare item doesn't fulfill a desire or need for potential buyers—if it has no utility in their eyes—then it won’t fetch a high price. In other words, rarity must be matched by demand to translate into value.

The Importance of Market Demand

A classic study in economics, the "Theory of Value" by Carl Menger, sheds light on why rarity alone is insufficient to generate value. Menger argued that value is subjective, depending on individual preferences and social context. Essentially, an item can be rare, but if it doesn't align with what people want, it won’t be valuable. This idea underpins much of modern economic thought on pricing, even when it comes to collectibles or rare objects.

For example, consider the case of 19th-century baseball cards. Some cards are extraordinarily rare because few were produced, and even fewer have survived in good condition. However, what gives these cards value is the high demand among collectors—driven by nostalgia, historical significance, and the social prestige of owning a piece of sports history. If interest in baseball were to decline drastically, the value of these cards could also plummet, despite their rarity.

On the flip side, you might come across items that are not particularly rare, yet they carry a high price tag because they are highly sought after. Think of items like limited-edition sneakers or popular branded merchandise. These items might not be rare in an absolute sense—tens of thousands might exist—but because the demand is so intense, their prices can skyrocket.

Why Rarity Doesn't Always Equal Value: A Case Study

Let’s take a look at an illustrative example: Beanie Babies. During the 1990s, certain Beanie Babies were considered rare, leading to skyrocketing prices as collectors rushed to get their hands on them. But when the fad died down, so did the demand. Today, even the rarest Beanie Babies often sell for a fraction of their former price because collectors have largely lost interest. This demonstrates that rarity alone isn’t a reliable predictor of long-term value. It’s demand—and the stability of that demand—that ultimately determines what someone is willing to pay.

Lessons from the Art Market

Another real-world example comes from the art world. Art by an unknown painter, no matter how rare, may not hold much value if it doesn't resonate with collectors. On the other hand, artworks by renowned artists like Van Gogh or Picasso fetch millions, not simply because they are rare, but because there’s an established demand driven by collectors, museums, and investors who view these pieces as cultural or financial assets.

In academic terms, the art market is a classic case where scarcity intersects with what’s known as "veblen goods" —goods that derive their value not from their intrinsic characteristics but from the social status they confer upon the owner. These markets demonstrate how demand can be influenced by factors like cultural trends, investor sentiment, and social signaling, often outweighing rarity as a value determinant.

Conclusion: Rethinking the Value of Rarity

So, does rare mean valuable? Not always. Rarity might catch our attention, but without demand, it doesn’t translate into monetary value. An item is only as valuable as what someone is willing to pay for it. To truly understand an object's value, we need to look beyond its rarity and consider the broader economic context—how much utility or satisfaction it provides, whether it’s in demand, and whether that demand is likely to persist.

The next time someone tries to convince you that an item is valuable simply because it’s rare, remember this: without demand, even the rarest items might just be collecting dust in an attic, because nobody actually wants them.

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For years, iGuide has been the go-to source for accurate, real-world pricing on collectibles, antiques, and a range of other unique items. As we continue to grow and expand our offerings, we're excited to introduce a new payment model that will better meet the needs of our users: a credit-based system.

Why Switch to a Credit-Based System?

In today's digital landscape, content consumers are increasingly hesitant to commit to yet another monthly subscription. The frustration of dealing with recurring charges, especially when only using a service occasionally, has led to a growing preference for credit-based payment systems. This approach allows users to pay for services on an as-needed basis, giving them the flexibility to choose when and how they want to access pricing information.

iGuide’s credit-based system is designed with this in mind. Rather than locking users into a fixed monthly fee, our platform will offer a simple, pay-per-credit option. This allows individuals to access detailed, accurate appraisals without committing to a long-term subscription, making it easier and more affordable to get the information they need when they need it.

How iGuide’s Credit System Will Work

Here's what you can expect when we roll out our new system later this year:

Cost Per Credit: Each credit will be priced at $5.

Appraisal Cost: Each appraisal will require one credit. For example, if you need appraisals for 20 items, you would purchase 20 credits at $5 each.

Subscription Options: For those who frequently use our service, we will offer monthly subscriptions starting at $19.95. This plan will include up to five appraisals per month. Additional subscription levels will be available, offering a reduced cost per appraisal for higher usage.

Our top-notch development team is hard at work building this system, and we anticipate a launch later this year.

Examples of Successful Credit-Based Models

iGuide is not alone in adopting this flexible approach. Many successful online platforms have embraced credit-based systems, finding that users appreciate the ability to pay only for what they need:

1. Adobe Stock: One of the most popular stock image services, Adobe Stock, allows users to purchase image credits rather than opting for a subscription. This is ideal for individuals and businesses that might need high-quality images only occasionally, as they can buy credits upfront and use them whenever needed.

2. Audible: Although Audible offers monthly memberships, it also operates on a credit-based system, where users receive one credit per month to exchange for any audiobook. For those who listen less frequently, credits can be banked and used later, providing flexibility and eliminating pressure to consume content immediately.

3. Depositphotos: Like Adobe Stock, Depositphotos offers a credits-based system, where users buy credits to download images or videos. This system benefits users who don't need a subscription but still want access to professional content as needed.

These examples illustrate a broader trend in the digital space: consumers want to pay for specific services they use, not be tied down by recurring charges. By adopting this model, iGuide aims to meet the preferences of our user base and offer a more tailored experience.

Why Credit Payments Are Replacing Traditional Subscriptions

Credit systems are gaining popularity because they offer a middle ground between full subscriptions and one-time purchases. They give users the flexibility to pay only for the content or services they actually need. This model also helps businesses reduce churn by offering an alternative to customers who might otherwise cancel a subscription due to infrequent usage.

Key benefits of a credit-based system include:

Cost Control: Users can budget effectively, purchasing only what they need without worrying about recurring monthly charges.

Flexibility: This model accommodates both frequent and occasional users, making it easier for people to access services without feeling obligated to use them within a certain timeframe.

Transparency: There’s no hidden fees or complex pricing structures—just a clear, straightforward pay-as-you-go system.

What’s Next for iGuide

As we roll out this new payment system, we want to ensure it reflects our commitment to providing value and convenience for our users. The move to a credit-based system will allow us to cater to both casual users looking to appraise a few items as well as estate appraisers and dedicated collectors who need regular, in-depth appraisals.

By making this shift, iGuide will provide an enhanced, user-friendly experience that aligns with modern consumer preferences—helping you gain the pricing knowledge you need, precisely when you need it.

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For many years, iGuide.net and 2nd Markets Corporation have envisioned a secure, peer-to-peer trading system for real assets that eliminates the high fees and burdens of traditional third-party middlemen like auction houses and online marketplaces. These third-party layers often take as much as 40% of the value of every transaction. This is unfair and unacceptable in the 21st century. By combining digital authentication, accurate appraisals, and blockchain technology, we propose a streamlined, transparent and open source framework for peer-to-peer trading without the burden of middlemen.

The Evolution of CUSIP: A Blueprint for Identifying Financial Assets...and Beyond?

In the mid-20th century, financial markets faced a growing problem: the sheer volume of securities being traded created significant inefficiencies in tracking, clearing, and settling trades. The solution came in 1964 with the creation of the Committee on Uniform Securities Identification Procedures (CUSIP). This system introduced a nine-character alphanumeric code that uniquely identified financial instruments such as stocks and bonds. By standardizing identification, CUSIP streamlined financial operations, reduced errors, and paved the way for automated trading systems.

The success of the CUSIP system demonstrates how a standardized, universal identification method can solve complex organizational problems. It ensured that every financial instrument had a unique "fingerprint," allowing traders, brokers, and clearinghouses to handle securities with clarity and efficiency. Today, CUSIP numbers are indispensable, underpinning modern financial markets and enabling seamless global trade.

However, while financial instruments now benefit from universal identifiers, a similar challenge exists for tangible assets of value such as fine art, watches, rare coins, sports cards, and other real assets. These assets lack a standardized system for universal and unique identification. Without such a system, the market for these items remains fragmented, with authentication, provenance, and valuation often disputed or unclear.

The Challenge of Identifying Tangible Assets

Unlike stocks or bonds, tangible assets are physical objects, each with unique characteristics and histories. A rare coin may have subtle variations in minting, while a piece of art might carry provenance documentation or distinguishing features. Currently, these details are recorded in disparate systems—appraisal reports, certificates of authenticity, or private databases—which are neither standardized nor universally accepted. This fragmented approach creates inefficiencies in buying, selling, and valuing these items, often leading to disputes or fraud.

A "CUSIP for Tangible Assets": Solving the Problem

Just as CUSIP revolutionized the financial markets, a similar system could transform the world of tangible assets. Imagine a standardized "fingerprint" for personal property—each item assigned a unique identifier that records its details, history, and current market value in a universally accepted format. This "CUSIP for tangible assets" system would unify the market, enabling seamless transactions, clear provenance, and real-time valuation.

The process could work as follows:

1. Appraisal

An expert evaluates the asset to determine its authenticity, condition, and value.

2. Authentication and Certification

Unique characteristics are documented, and the asset is certified by trusted authorities.

3. Assignment of Token

A unique identifier—akin to a CUSIP number—is assigned to the asset and recorded in a digital ledger or blockchain, ensuring its immutability and accessibility.

iGuide.net: Innovating Tangible Asset Identification

At iGuide, we recognize the need for such a system. As part of our ongoing research and development initiatives, we are exploring and refining concepts for such a CUSIP-like framework for real assets. We suggest the process begins with comprehensive appraisals, followed by authentication and certification, culminating in the assignment of a unique digital token recorded on a blockchain.

This innovation could empower collectors, buyers, and sellers with a secure, transparent, and universally accepted system for identifying and managing their valuable assets. By combining technology with expertise in appraisals and market data, iGuide.net hopes to be at the forefront of efforts to revolutionize the way real assets are identified, valued, and transacted.

In the same way that CUSIP brought order to financial markets, a "CUSIP for tangible assets" system could do the same for the world of collectibles and valuables—ensuring trust, efficiency, and clarity in every transaction.

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In the world of antiques and collectibles, the ability to describe an object accurately is both an art and a science. To the uninitiated, the task may seem daunting, but it's essential for valuation, provenance research, and ensuring authenticity.

This guide will illuminate some of the important elements of effective description, providing a foundation for anyone seeking to accurately catalog their treasured possessions.

When Describing an Object, It Is Crucial to Include Details Such As...

Year

If the year the object was produced is known or can be determined always include this point in the description.

Maker or Manufacturer

The maker of an object is one of the most important details to record. Whether it is a painting, sculpture, or piece of furniture, the maker—be it an individual artist or a manufacturer—provides context, historical significance, and often a significant portion of the object's value.
Artworks. For fine art, identifying the artist is a key data point. Is it a Picasso or a lesser-known contemporary? The distinction could mean a difference of millions.
Antiques and Collectibles. In the realm of antiques, the maker could be a cabinetmaker like Thomas Chippendale or a porcelain manufacturer like Meissen. This information not only reveals quality but also cultural and historical context.
Automobiles. For cars, the manufacturer (e.g., Ford or Aston Martin) conveys essential information about style, performance, and pedigree. The maker’s reputation and the year in which the vehicle was produced are critical considerations.

Always inspect the object carefully for maker’s marks, signatures, or logos, which might be subtle or hidden.

Brand

In some instances, the brand differs from the maker, and this distinction is critical. Brands often carry their own cachet and market recognition, independent of the manufacturer.
Examples. While Mattel is the maker of Barbie dolls, "Barbie" is the brand. Similarly, Hot Wheels is a brand owned by Mattel.
Why It Matters. Brands evoke emotional resonance and can significantly influence value. For collectors, a branded object often has an established niche market, complete with dedicated resources for research and valuation.

Dimensions

Accurate measurements are indispensable when cataloging an object. Dimensions not only help determine the practicality of owning or displaying an item but also serve as a means of authentication.
Artwork and Posters. For example, an authentic 20th-century movie poster often measures 27 x 41 inches, while modern reprints tend to measure 24 x 36. Such distinctions can make the difference between a rare, valuable collectible and a decorative reproduction.
Sculptures and Furniture. For sculptures, the height, width, and depth are essential, while with furniture, additional measurements like seat height or drawer dimensions are important.
Precision is key. Use a reliable measuring tool and include units (inches, centimeters) to avoid confusion.

Type of Item

Personal property falls into broad and specific categories, and accurately identifying the type of item is a fundamental goal of description.
Category. Examples include wine, coins, cars, paintings, dolls, stamps, and countless others. Within each category, subcategories further delineate objects. For instance, coins can be modern, ancient, or commemorative.
Why It Matters. Proper categorization ensures that the object reaches the correct audience, whether it is being appraised, sold, or simply studied.

Pertinent Markings or Text

Experts instinctively inspect an object for markings, which can range from a signature on a painting to a hallmark on silverware. These details often tell the object's story.
Locations to Check. Examine the back, bottom, or edges of the item. On paintings, inspect the canvas stretcher or frame for handwritten notes. For ceramics, turn the piece over to locate maker’s marks or stamps.
Text or Inscriptions. Textual elements such as engravings, dedications, or even handwritten notes can provide clues to the item's history or ownership.

Photograph and record these details carefully, as they are often pivotal in determining authenticity and value.

Model Name or Number

The model name or number is another critical piece of information, particularly for manufactured items.
Examples. A Ford Mustang differs significantly from a Ford Taurus, and collectors want precise details about the model year and trim. Similarly, a Rolex Submariner and a Rolex Datejust are distinct models with differing markets and values.
Where to Look. Model numbers are often engraved, stamped, or printed discreetly on the item. For watches, they are typically found on the case back or inside the case; for electronics, they may be on a label or engraved on the body.

Country of Origin

The country where an object was produced offers crucial information about its materials, craftsmanship, and cultural significance.
Historical Context. A violin made in 18th-century Italy, for instance, may suggest a connection to the celebrated Stradivari workshop, whereas a modern reproduction from another country will carry less significance.
Trade Practices. Country of origin can also reflect historical trade practices and geopolitical influences, adding layers of narrative to the object.

Look for clear indicators, such as stamps, labels, or written documentation, to confirm the object's origin.

Suggested Reading

For those seeking to refine their descriptive skills, the following resources provide invaluable guidance:
Books
The Art of Authentication by David Lee
Collecting and Provenance by Charlotte Wood
Antique Trader Antiques & Collectibles Price Guide by Eric Bradley

Websites
Sotheby’s
iGuide.net
Antiques Trade Gazette

Each resource delves into the nuances of cataloging, from identifying makers to decoding marks, and provides case studies for practical application.

Conclusion

In closing, the art of description is both a meticulous practice and a gateway to understanding the objects we cherish. By paying close attention to the maker or manufacturer, brand, dimensions, type of item, markings, model name or number, and country of origin, you can paint a vivid picture of any item’s identity.

For the uninitiated, these details might seem overwhelming at first. However, with time, practice, and the right resources, describing art, antiques, and collectibles becomes a rewarding journey into history, culture, and craftsmanship.

So pick up your magnifying glass, take careful notes, and start your cataloging adventure with confidence.

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Before the introduction of Beckett's 10-point grading system for trading cards, the marketplace suffered from a lack of a standardized system for ranking of condition. Each merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." In our opinion, lack of grading consistency among merchants is a major obstacle to growth in any hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology.

Beckett's commonly-accepted 10-point scale for grading  is similar to systems already adopted in other markets. By using this set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

C10 = GEM-MT 10: Gem Mint

A Gem Mint 10 card is a virtually perfect card. Attributes include four perfectly sharp corners, sharp focus and full original gloss. A Gem Mint 10 card must be free of staining of any kind, but an allowance may be made for a slight printing imperfection, if it doesn’t impair the overall appeal of the card. The image must be centered on the card within a tolerance not to exceed approximately 55/45 to 60/40 percent on the front, and 75/25 percent on the reverse.

C9 : MINT 9: Mint

A Mint 9 is a superb condition card that exhibits only one of the following minor flaws: a very slight wax stain on reverse, a minor printing imperfection or slightly off-white borders. Centering must be approximately 60/40 to 65/35 or better on the front and 90/10 or better on the reverse.

C8 = NM-MT 8: Near Mint-Mint

A NM-MT 8 is a super high-end card that appears Mint 9 at first glance, but upon closer inspection, the card can exhibit the following: a very slight wax stain on reverse, slightest fraying at one or two corners, a minor printing imperfection, and/or slightly off-white borders. Centering must be approximately 65/35 to 70/30 or better on the front and 90/10 or better on the reverse.

C7 = NM 7: Near Mint 

NM 7 is a card with only slight surface wear visible upon close inspection. There may be slight fraying on some corners. Picture focus may be slightly out-of-register. A minor printing blemish is acceptable. Slight wax staining is acceptable on the back of the card only. Most of the original gloss is retained. Centering must be approximately 70/30 to 75/25 or better on the front and 90/10 or better on the back.

C6 = EX-MT 6: Excellent-Mint

A EX-MT 6 card may have visible surface wear or a printing defect which does not detract from its overall appeal. A very light scratch may be detected only upon close inspection. Corners may have slightly graduated fraying. Picture focus may be slightly out-of-register. Card may show some loss of original gloss, may have minor wax stain on reverse, may exhibit very slight notching on edges and may also show some off-whiteness on borders. Centering must be 80/20 or better on the front and 90/10 or better on the reverse.

C5 = EX 5: Excellent

Very minor rounding of the corners is becoming evident. Surface wear or printing defects are more visible. There may be minor chipping on edges. Loss of original gloss will be more apparent. Focus of picture may be slightly out-of-register. Several light scratches may be visible upon close inspection, but do not detract from the appeal of the card. Card may show some off-whiteness of borders. Centering must be 85/15 or better on the front and 90/10 or better on the back.

C4 = VG-EX 4: Very Good-Excellent

Corners may be slightly rounded. Surface wear is noticeable but modest. The card may have light scuffing or light scratches. Some original gloss will be retained. Borders may be slightly off-white. A light crease may be visible. Centering must be 85/15 or better on the front and 90/10 or better on the back.

C3 = VG 3: Very Good

A VG 3 card reveals some rounding of the corners, though not extreme. Some surface wear will be apparent, along with possible light scuffing or light scratches. Focus may be somewhat off-register and edges may exhibit noticeable wear. Much, but not all, of the card’s original gloss will be lost. Borders may be somewhat yellowed and/or discolored. A crease may be visible. Printing defects are possible. Slight stain may show on obverse and wax staining on reverse may be more prominent. Centering must be 90/10 or better on the front and back.

C2 = GOOD 2

Corners show accelerated rounding and surface wear is starting to become obvious. A good card may have scratching, scuffing, light staining, or chipping of enamel on obverse. There may be several creases. Original gloss may be completely absent. Card may show considerable discoloration. Centering must be 90/10 or better on the front and back.

C1 = PR 1: Poor

Card will exhibit many of the same qualities of a Good 2 but the defects may have advanced to such a serious stage that the eye-appeal of the card has nearly vanished in its entirety. A Poor card may be missing one or two small pieces, exhibit major creasing that nearly breaks through all the layers of cardboard or it may contain extreme discoloration or dirtiness throughout that may make it difficult to identify the issue or content of the card on either the front or back. A card of this nature may also show noticeable warping or another type of destructive defect.

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National Silver Co of New York began in 1904, and later acquired the F.B. Rogers Co. and the Ontario Manufacturing Co of Muncie, Indiana In the mid-1950's. No flatware has been produced since the mid-1940's. Some pattern names: Intermezzo, Margaret Rose, Narcissus, Overture, and Princess Elizabeth.

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The 45 RPM Record Collecting Hobby uses a grading system known as the VJM Grading System. The VJM Record Grading System is an internationally-used and recognized system for grading both 45s and LPs. It is used by virtually all jazz, blues, personality and most pre-war record dealers and collectors alike, with an easily understood sequence of letters to show grades and a system of abbreviations to show faults and damage. The first grading system to be adopted by jazz record collectors was devised by the publishers of Record Changer magazine in the 1940s, and the system now known as the VJM Grading System is a refined version of the former, introduced in the early 1950s.

Grading for beginners

Like coins, stamps, sports cards, movie posters, and everything else that people collect, these are valued according to condition. Because human beings prize things that glitter, the more like new an object is, the more collectors will pay for it. Seems simple enough, right? WRONG! Because arguing about condition actually means negotiating price, buyers and sellers often have a hard time agreeing on grade. But, fortunately, standard terms exist that everyone agrees on (what those terms mean is another story). Sadly, it takes years of looking at thousands of variations before you can truly become a knowledgeable grader. So how do you know what grade it is in if you are new at making the grade? Let me suggest that you start simple and then hone in on the final grade.

First let's look at some general terms that could be used to describe the condition of these things, then we'll cover some specialized terms that dealers and collectors use.

PERFECT

We all know what this is, something in brand new condition. A brand new record that has never been played is probably in PERFECT, like-new condition. The term for perfect condition is NEW. Although some dealers will try to convince you that 30 or 40 year old records are not graded as strictly as newer ones, I would not believe it if I were you. When it comes to PERFECT, new is new, period.

ABOVE AVERAGE

If someone bought a record, played it once or twice, and then carefully filed it away, it is in ABOVE AVERAGE condition. We refer to records in above average condition as EXCELLENT (abbreviated E or EX).

AVERAGE

The term collectors use to describe AVERAGE condition is VERY GOOD (or VG for short). Since records were meant to be played and handled, those that have been played and handled are in average condition. Minor shelf scratches, grey grooves, minor writing on the label... these are things that are typical from normal use and is both common and acceptable in a VG condition record.

BELOW AVERAGE

Records that you owned when you were six years old are probably in BELOW AVERAGE condition because you probably beat the @@#$!! out of them. And they look it! The record is still complete with heavy groove wear and probably lots of scratches from careless storage. You probably wrote your name in big black letters on the label to make sure no one else could claim your prized possession as their own. In other words, records in BELOW AVERAGE condition are ROUGH! Collectors describe records in below average condition as GOOD. Actually, there's nothing good about it other than the fact that you have a copy to keep until a better one comes along.

POOR

Better known by the technical term "crap" first coined by a dealer named Steve Geppi. A record in poor condition looks like it was rescued from the trash can of history...and probably was. You know you have handled a poor condition record when you rush to wash your hands afterwards. Poor means TERRIBLE...it may not even play!

Now that you know the five basic ranges of condition, it's much easier to focus in on exactly what the real grade is. Try it yourself. Take a stack and grade them. Is the first one just like the day you bought it except for a tiny spec on the label? Then it's not PERFECT, but you could certainly say it's ABOVE AVERAGE. Put it in the ABOVE AVERAGE stack. Does the next one in the stack look played and re-played? Put it in the AVERAGE stack. Continue sorting into basic grades. When you are done, refer to the following detailed grading descriptions. Start at the lowest grade and work your way up. Think in terms of report grades A+ to F with AVERAGE being a C, or a 10 scale from 0 to 10, with AVERAGE being a 5. The one that sounds closest to the grade of the item in hand is the actual grade.

Now let's look at the technical grading terms collectors use to describe condition. At trade shows and on eBay you will see these grades and grade-codes used to indicate grade. Memorize them, learn what they mean, and then you can start MAKING THE GRADE like a pro.

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Report Card Grade: A+

VJM Grade: N : Store Stock New
10 Point Grade: On a scale of 1 to 10, it is a 10.
As new and unplayed (there are virtually no 78s that can categorically be claimed to be unplayed).

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A

N-
On a scale of 1 to 10, it is a 9.
Nearly New, but has been played. No visible signs of wear or damage.

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A-

E+
On a scale of 1 to 10, it is a 8.
Plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of sleeves.

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B+

E : Excellent
On a scale of 1 to 10, it is a 7.
Still very shiny, near new looking, with no visible signs of wear, but a few inaudible scuffs and scratches.

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B

E-
On a scale of 1 to 10, it is a 6.
Still shiny but without the luster of a new record, few light scratches.

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B-

V+
On a scale of 1 to 10, it is a 5.
Average used condition 45 in which scuffs and general use has dulled the finish somewhat. Wear is moderate but playing is generally free from distortion. Surface noise not overly pronounced.

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C+

V : Very Good
On a scale of 1 to 10, it is a 4.
Used. Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive.

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C

V-
On a scale of 1 to 10, it is a 3.
Quite playable still, but distortion and heavy greying in loud passages. Music remains loud in most passages. Surface noise and scratches well below music level.

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C-

G+
On a scale of 1 to 10, it is a 2.
Grey throughout but still serviceable. Music begins to sound muffled. Heavy scratches

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D

G : Good
On a scale of 1 to 10, it is a 1.
Seriously worn and scratched, but music level is still higher than surface noise.

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F

G- ; F ; and P
On a scale of 1 to 10, it is a 0.
The VJM system has these designations for records in extremely poor condition. We do not place these on the 10-point scale because records in this condition have little or no value. In cases where the record is extremely rare, it would be worth the D price.

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GLOSSARY OF ABBREVIATIONS

sfc = surface
lbl = label
nap = not affecting play
scr/scrs = scratch/scratches
lc or lam  = lamination crack
cr = crack
gv/gvs= groove/grooves
hlc/hc = hairline crack
wol = writing on label
sol = sticker onlabel
fade = faded label
eb = edge bite
ec = edge chip
ef =edge flake
cvr = cover
s = stereo
rc= rim chip
rf = rough;
aud/inaud = audible/inaudible
lt = light

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Knives, from their humble beginnings as tools of survival, have evolved into objects of art, history, and personal interest. Knife collecting, spanning centuries and continents, reflects this multifaceted appeal. Delve into this intriguing world with us:

From Antiquity to Auction

While collecting artifacts like weapons and tools pre-dates recorded history, organized knife collecting is relatively recent. The late 19th century saw a surge in interest, fueled by growing affluence and fascination with American westward expansion. Early collectors focused on historical pieces like Bowie knives and military blades.

The 20th Century Boom

The 20th century witnessed a boom in knife collecting, with specialized clubs, publications, and shows emerging. New categories like custom knives and tactical folders entered the scene, broadening the collector's landscape.

Who Collects the Blade?

The diverse world of knife collectors attracts individuals with various motivations:

• The Historian — Drawn to the past, they seek knives that tell stories of wars, cultures, or specific historical figures.
• The Craftsman — Appreciating meticulous design and engineering, they value knives made with exceptional materials and techniques.
• The Investor — Seeking financial gain, they focus on rare, limited-edition, or vintage pieces with potential market appreciation.
• The Practical Collector — They combine interest with utility, collecting knives for everyday use while appreciating their value as collectibles.

Market Values: A Double-Edged Sword

The value of a collectible knife is influenced by several factors, including:

• Age and Rarity — Older, rarer knives generally command higher prices.
• Condition — Mint condition significantly increases value.
• Maker and Provenance — Renowned makers and documented history raise desirability.
• Market Trends — Popular patterns and materials fluctuate in value over time.

It's crucial to remember that the market value shouldn't solely drive collecting. Genuine passion, a thirst for knowledge, and appreciation for history and craftsmanship are the cornerstones of this fulfilling hobby.

The Future of Sharpened Passions

Knife collecting continues to evolve, embracing online communities and forums, attracting younger generations, and expanding its scope to include modern tactical and artistic designs. While market values remain significant, the true allure lies in the stories each blade whispers, the craftsmanship it embodies, and the connection it offers to history and heritage. So, whether you're drawn to the practical edge of a pocketknife or the historical weight of a military dagger, the world of knife collecting welcomes you with a treasure trove of stories and blades waiting to be discovered. Just remember, the most valuable collection is the one built on genuine passion and appreciation.

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Playboy magazines from the 1950s and 1960s can indeed be valuable, especially if they are in like new condition. The value of these magazines varies widely depending on factors such as rarity, condition, and specific issues. For example, the first issue of Playboy and the issue featuring Betty Page on the cover (1954) are particularly valuable. Special issues, complete collections, and autographed copies also tend to have higher value.

A Common Misconception

Some might assume that because Playboy was once a popular and provocative magazine, older issues would hold significant value today.

The Bad News

They don’t have any collector value for the most part—with the exception of the very first issue. Even in pristine, "like new" condition, modern Playboy magazines have little, if any, market value. Why? Playboy quickly became one of the best selling magazines in America. This means they are extremely common. Only the early issues from 1954 and 1955 (and of course the first issue in December 1953) have any significant value. Large lots of 1960s, 70s, and up can be purchased on eBay for less than a buck a piece.

History of Playboy

Hugh Hefner was working as a promotion copywriter at Esquire magazine in Chicago when the magazine decided to move its offices to New York. Hefner decided to stay behind and start a magazine of his own. The first issue of Playboy magazine was published in December 1953. It featured Marilyn Monroe on the cover and included a “Sweetheart of the Month” color nude photo inside. The magazine sold more than 50,000 copies

If you have any early Playboy magazines, especially from the 1950s, they could be valuable collectibles. A volume 1 #1 from 1953 in mint condition is worth many thousands of dollars. It's worth getting them appraised to determine their exact value.

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Our 10-point scale for grading vintage paperback rarities is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

We have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your vintage paperback. As in any collectible, the better the condition of an item, the more valuable it is.

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A+

10 on a scale of 1 to 10.
AN (As New)
Perfect, i.e. - brilliant, unusually bright, glossy, white pages, sharp, pristine, etc. Seldom used by professionals since it represents perfection...and perfection is extremely rare.

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A

9 on a scale of 1 to 10.
F (Fine) Virtually flawless. Superb. For a book to receive this grade it may have only the slightest traces of wear noticeable upon very close inspection. Inside, the pages must be creamy, no trace of brown, and also there can be no name plates or other writing inside the book. Outside, the spine must be solid and clean with no fading. Very tiny amounts of wear to the spine may be present. No crease of any kind is permitted. The book appears to be perfect but upon close inspection tiny problems can be found. Generally, the highest grade found in the marketplace since C10 is an extremely rare grade.

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A-

8 on a scale of 1 to 10.
AF (About Fine)
An exceptional copy. Acceptable to all but the most finicky collector. This is a sharp, almost Fine copy. It can have no major defects but may have an accumulation of several minor ones, such as a tiny color chip on the spine or extremities. Other possible flaws might include a small, penciled arrival mark on the cover on an otherwise Fine book. No creases. Pages can be slightly yellowed, but not brown.

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B+

7 on a scale of 1 to 10.
VGF (Very Good to Fine)
Slightly worn. Closer to VG than to AF, but still a very well preserved copy without major defects. Pages will not be brown, and no name plate or writing can be on the endpages. Light spine wear/flaking, or minor cover wear is the typical problems with books in this grade. A light reading crease along the spine or very minor corner crease might be present.

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B

6 on a scale of 1 to 10.
VG (Very Good)
The typical used paperback in average condition. A solid copy, although with wear and defects to be expected. Unusual problems will be noted. The book can have very slight browning of pages but not brittleness or flaking; it may also have a small name written on an endpage, or a small nameplate.

Minor peeling of the lamination covering the book can be expected, but extreme peeling will eliminate the book from this grade. A corner crease (1/4" or less) or two can be present, but numerous creases are not allowed in this grade. A light reading crease along the spine is normal for this grade.

A minor spine roll is allowable, a heavy spine roll is not ailowable in this grade unless noted and the book is a higher grade otherwise. General spine wear can be expected, however, unusually heavy spine wear is not permitted in this grade. The spine should be complete and solid, if not - major problems should be described - such as a split spine. In any case, a spine split should be described to length and should eliminate the book from this grade if it is over 3/4" in length. Tape anywhere on the book is not allowed in this grade. A small pen mark on the cover can be present if noted, but not if large, heavy, or if affecting the eye appeal of the book. Damp stains prevent the book from being C6. One small arrival date is allowable without being noted, but any other writing on the cover should be noted. Sun-fading on the spine or cover should be described, and if significant, should prevent the example from the VG grade. Insect or rodent damage is not allowable in this grade. Price stickers or peel-marks from removal of a price sticker is allowable in the VG grade only when the area affected is small and not a serious detraction from the cover art. No color touchup with colored markers is allowable in this grade.

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B-

5 on a scale of 1 to 10.
VG- (Very Good Minus)

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C

4 on a scale of 1 to 10.
GVG (Good to Very Good)
A borderline book that is closer to VG than it is to G. The accrual of several of the above mentioned defects should move an otherwise VG book to this grade. Books in this grade are similar in appearance to a VG book, but with heavier or more severe creases, flaking, etc. Minor dampstains are permitted in this grade.

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C-

3 on a scale of 1 to 10.
G (Good)
A worn, creased, flaked example. Crumpled and worn corners. Tape, waterstains, writing, brittleness of pages, pieces or chips missing, heavily rolled spine etc., are to be expected in this grade. Typically a reading-copy only, with all pages complete.

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D

2 on a scale of 1 to 10.
FR (Fair)
The lower grades are separated by degrees of damage. The accumulation of many defects lowers a book from the C3 grade down to the C2.

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F

1 on a scale of 1 to 10.
P (Poor) Extremely worn, possibly incomplete, although such should be noted.

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GLOSSARY OF TERMS

PBO - Paperback Original. A first appearance in book form. Would be described as a "First Edition" by an antiquarian book dealer. Should not be confused with the term "First printing" or "First Paperback".

First printing - By default, it is customary in the hobby to assume a book is a first printing unless otherwise noted. It is incumbent upon the seller to accurately note the printing of any book he or she is selling.

First Edition versus First Printing - A paperback book can be a first printing and not be an original (PBO) - i.e. when the First Edition is hardcover or appeared in an earlier paperback version.

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Free Paperback Appraisal

Minton, an esteemed English ceramics manufacturer, has been synonymous with luxury and craftsmanship since its establishment in 1793 by Thomas Minton in Stoke-on-Trent, Staffordshire. While the company initially produced practical earthenware, it rose to international fame for its fine porcelain, decorative tiles, and most notably, its exquisite statues. By the mid-19th century, Minton embraced the Victorian love for art and opulence, producing statues that remain highly sought after by collectors today.

Minton Statues: A Victorian Masterpiece

Minton’s statues are often crafted from Parian ware, a type of unglazed porcelain introduced in the 1840s. Designed to mimic the appearance of marble, Parian ware offered an affordable yet elegant alternative, bringing intricate sculptures into more homes. These statues often depicted themes from classical mythology, literature, and Victorian life, along with busts of prominent figures and commemorative works.

The artistry of Minton’s statues was further elevated through collaborations with leading designers such as Herbert Minton and acclaimed sculptors like John Bell and Albert-Ernest Carrier-Belleuse. Their contributions ensured that Minton statues became iconic for their intricate detail, smooth finish, and timeless Victorian aesthetic.

Factors Influencing the Value of Minton Statues

Several factors determine the value of Minton statues in today’s collectibles market:

Rarity
Limited-edition or hard-to-find pieces typically command higher prices.

Condition
Statues free of cracks, chips, or repairs hold greater value.

Subject Matter
Depictions of famous figures or mythological themes are especially desirable.

Provenance
A documented history or association with notable collections can significantly boost value.

Market Trends
The demand for Victorian ceramics and Parian ware influences prices.

Estimated Value of Minton Statues

The value of Minton statues varies based on size, condition, and rarity. Typical market estimates include:

Smaller, common Parian busts: $150–$400
Larger or rare statues: $500–$2,000
Exceptional or historically significant pieces: $3,000+

High-end examples, particularly those designed by prominent artists or featuring unique details, have been known to exceed $5,000 at auction.

Preserving and Appraising Minton Statues

To maintain their value, Minton statues should be displayed away from direct sunlight and moisture. Handling should always be done with care to avoid damage. If you suspect your piece has significant value, consider obtaining a professional appraisal or authentication.

At iGuide, we provide detailed appraisal reports based on real-market data, ensuring accurate valuations for Minton statues and other collectibles. Reach out to us today for expert assistance in determining the worth of your piece.

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Provenance, essentially the history of ownership, is a vital element in assessing the authenticity, value, and historical significance of a collectible. Whether it’s a painting by an Old Master, a rare coin, or a limited-edition trading card, a well-documented provenance adds layers of credibility and allure, enhancing the item’s appeal to discerning collectors. In a market where authenticity is paramount, provenance provides the backbone for genuine historical and monetary worth.

The Role of Provenance in Fine Art

In the art world, provenance serves as a chronological trail leading back to a piece’s origin. This record often begins with details about who commissioned or created the work and continues through each owner, sale, or exhibition it has encountered. Collectors and historians rely on provenance to verify a piece’s authenticity, detect forgeries, and place it within the broader context of art history. This can make all the difference when evaluating its cultural and financial value, especially if the artwork was owned by notable collectors, displayed in prestigious exhibitions, or featured in historic sales.

For example, discovering that a painting once hung in the salon of an iconic collector or was exhibited at a landmark gallery event can substantially boost its market value. Such documented lineage also serves as proof of the work’s originality and place in the artist’s oeuvre, qualities that elevate it far above similar yet undocumented pieces.

Provenance in Collectibles: Coins, Trading Cards, and Beyond

Beyond fine art, provenance remains invaluable for other collectibles, such as rare coins, trading cards, and high-end memorabilia. While these items may not carry the same cultural gravitas, they often hold deep sentimental and financial value for collectors. In these cases, provenance can verify authenticity and offer insights into rarity and condition, both of which directly impact an item’s market value.

For instance, a coin that passed through the hands of notable collectors or survived intact through different historical periods acquires added significance. Similarly, a trading card that has been graded for quality and comes with a documented history—perhaps of its purchase by a famed collector or a feature in a key auction—often commands a premium. Collectors take pride in owning items with a rich history, as these pieces come with stories that deepen their connection to the collectible world.

Provenance as a Protective Measure Against Forgeries

In a market vulnerable to counterfeits and reproductions, provenance offers a safeguard. By documenting an item’s history, it becomes easier to identify anomalies, such as sudden gaps in ownership, that might suggest foul play. For buyers, especially those investing significant sums, a well-documented provenance acts as a measure of confidence, reassuring them of their investment’s authenticity. Reputable sellers, too, rely on provenance to uphold trust and integrity in their offerings.

Conclusion: The Timeless Value of Provenance

Whether it’s a work of fine art, a rare historical document, or a collector's coin, provenance is more than a record of ownership. It is a timeline that reveals an item’s legacy, enriches its story, and safeguards its place within its respective market. As collectors seek items with both intrinsic and extrinsic value, provenance becomes the key to understanding and preserving the authenticity and significance of collectibles across time and trends.

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The descriptions of book grades that follow are intended to outline the relative condition of books in various states of preservation. These standards are based on trade practices recommended by The American Book Association to avoid misunderstandings in the buy, selling, and advertising of books.

BOOK GRADES

Grade of a book is usually shown in the form of VG/VG, Fine/Good, VG/--, etc. The first part is the condition of the book, the second is the condition of the dust jacket. If a "--" is present, it usually means that the dustjacket is not present.

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C10 New.

The finest quality available. A new book is unread, in print and in perfect condition with no missing or damaged pages.

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C9 As New (AN).

To be used only when the book is in the same immaculate condition to which it was published. There can be no defects, no missing pages, no library stamps, etc., and the dustjacket (if issued) must be perfect, without any tears.

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C8 Fine (F or FN).

Approaches the condition of As New, but without being crisp. For the use of the term Fine, there must also be no defects, etc., and if the jacket has a small tear, or other defect, or looks worn, this should be noted.

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C7 Near Fine (NF ).

Approaches the condition of Fine, but without being quite as clean and crisp, with perhaps the slightest shelf wear. For the use of the term Near Fine, there must be no defects, etc., and if the jacket has a small tear, or other defect, or looks worn, this should be noted.

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C6 Very Good + (VG+).

Describes a book that does show some small signs of wear - but no tears - on either binding or paper. Any defects must be noted.

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C5 Very Good (VG).

Describes a book that does show some small signs of wear - but no tears - on either binding or paper. Any defects must be noted.

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C3 Good (G).

Describes the average used worn book that has all pages or leaves present. Any defects must be noted.

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C2 Fair (FR).

Worn book that has complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, jacket (if any), etc., may also be worn. All defects must be noted.

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C1 Poor (P).

Describes a book that is sufficiently worn, to the point that its only merit is as a Reading Copy because it does have the complete text, which must be legible. Any missing maps or plates should still be noted. This copy may be soiled, scuffed, stained or spotted and may have loose joints, hinges, pages, etc.

BOOK SIZES

4to- A book that is up to 12" tall.
8vo - A book that is up to 9 ¾" tall.
12mo - A book that is up to 7 ¾" tall.
16mo - A book that is up to 6 ¾" tall.
24mo - A book that is up to 5 ¾" tall.
32mo - A book that is up to 5" tall.
48mo - A book that is up to 4" tall.
64mo - A book that is up to 3" tall.
Folio - A book that is up to 15" tall.
Elephant Folio - A book that is up to 23" tall.
Atlas Folio - A book that is up to 25" tall.
Double Elephant Folio - A book that is up to 50" tall.

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Some pattern names: Formality, Inaugural, and Stately 

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Before you sell your old records, you should learn how much they are worth, which are common, and which (if any) are rare treasures. The price guides here at iGuide will help you sort this out.

Once you know what you have and how much they are worth, here are some of the best ways to sell your old records:

1. Online Marketplaces

Discogs is a popular online marketplace dedicated to vinyl records. It has a large community of buyers and sellers, making it a great place to find potential customers for your collection.

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eBay is an online marketplace where you can sell a wide variety of items, including vinyl records. It has a large user base and a variety of features to help you list and sell your records.

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Amazon is another online marketplace where you can sell vinyl records. It has a large user base and a variety of features to help you list and sell your records.

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Facebook Marketplace is a good option for selling vinyl records locally. It is easy to use and allows you to connect with potential buyers in your area.

2. Local Specialty Shops

Many local record stores buy used vinyl records. This can be a convenient way to sell your collection, but you may not get as much money as you could selling online.

3. Shows and Conventions

Vinyl record shows are a great way to meet other vinyl collectors and potentially sell your records. These events are often held in cities and towns around the country.

4. Garage Sales

Garage sales are a good way to sell vinyl records locally. However, you may not get as much money as you could selling online or at a record fair.

5. Consignment Shops

Some consignment shops sell vinyl records. This can be a good option if you don't want to deal with the hassle of selling your records yourself. However, you may not get as much money as you could selling online.

Tips for Selling Your Vinyl Records

• Research the value of your records This will help you set a fair price. The iGuide record price guide is a good place to research the value of your records or to request an appraisal.
• Grade your records The condition of your records will affect their value. You can use a grading guide like the one here on iGuide to grade your records.
• Clean your records Clean records are more valuable than dirty records. But be careful! You can use a record cleaning machine or a cleaning solution to clean your records.
• Take good photos of your records Good photos will make your records more appealing to potential buyers.
• Write detailed descriptions of your records Include information about the artist, album title, label, and condition of the records.
• Be patient It may take some time to sell your vinyl records. Don't get discouraged if you don't sell them right away.

By following these tips, you can increase your chances of selling your vinyl records for a good price.

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Paramount Records was contracted to press discs for Black Swan Records. When that company floundered, Paramount bought out Black Swan and thus got into the business of making recordings by and for African-Americans. These so-called 'race music' records became Paramount's most famous (and most valuable to record collectors).

Paramount's 'race record' series was launched in 1922 with a few vaudeville blues songs by Lucille Hegamin and Alberta Hunter. It had a large mail-order operation that was a key to its early success.

Most of Paramount's race music recordings were arranged by Black entrepreneur J. Mayo Williams. 'Ink' Williams had no official position with Paramount, but was given wide latitude to bring African-American talent to Paramount recording studios and to market Paramount records to African-American consumers. Williams did not know at the time that the 'race market' had become Paramount's prime business, and he was essentially keeping the label afloat.

Problems with low audio fidelity and poor pressings plagued the label. Blind Lemon Jefferson's big 1926 hit, 'Got the Blues' and 'Long Lonesome Blues', had to be hurriedly re-recorded in the superior facilities of Marsh Laboratories and subsequent releases used that version; since both versions appear on compilation albums, they may be compared.

In 1927, Mayo Williams moved to competitor Okeh Records, taking Blind Lemon Jefferson with him for just one recording, 'Matchbox Blues';. Paramount's recording of the same song can be compared with Okeh's on compilation albums, to Paramount's detriment. In 1929 Paramount was building a new studio in Grafton, Wisconsin, so it sent Charlie Patton — 'sent up' by Jackson, Mississippi storeowner H.C. Speir — to the studio of Gennett Records in Richmond, Indiana, where on June 14 he cut 14 famous sides which led many to consider him the 'Father of the Delta Blues'.

What are the most valuable blues records on the Paramount label?

• Charlie Patton on 78 RPM Paramount
• Son House on 78 RPM Paramount
• Willie Brown on 78 RPM Paramount
• Tommy Johnson on 78 RPM Paramount
• Charlie Spand on 78 RPM Paramount
• Robert Peoples on 78 RPM Paramount
• Blind Lemon Jefferson on 78 RPM Paramount
• Alberta Hunter on 78 RPM Paramount

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Identifying a fake Gucci watch requires meticulous examination, as counterfeits are becoming increasingly sophisticated. Authentic Gucci watches, emblematic of modern elegance, are distinguished by their quality craftsmanship and distinctive design, appealing to fashion-forward individuals. However, the allure of acquiring a luxury timepiece at a reduced price has led to a proliferation of replicas in the market. To discern a genuine Gucci watch from a counterfeit, several critical aspects must be scrutinized:

• 1. Examine the Case Back: Authentic Gucci watches typically feature the logo and the model number on the back of the case. Absence of these details, or the presence of only a logo, suggests it's a replica. It's noteworthy that some genuine models, like the Gucci 3900 series, may not adhere to this norm.
• 2. Inspect the Watch Face: The dial of a genuine Gucci watch exhibits precision and uniformity, having undergone rigorous quality control. Imperfections in the dial, including irregular spacing or sizing of numbers, indicate a fake.
• 3. Look for 'Swiss-made': True Gucci watches bear the inscription 'Swiss-made' below the 6 o’clock position. Its absence signals a counterfeit.
• 4. Observe the Hands Movement: Gucci's Swiss quartz movement ensures a smooth, seamless motion of the hands. In contrast, replicas often exhibit a jerky or ticking movement due to inferior mechanisms.
• 5. Assess the Weight: Genuine Gucci watches, crafted from premium materials like gold and stainless steel, feel substantially weighty. A lighter weight implies the use of lesser quality materials, characteristic of fakes.
• 6. Verify the Serial Number: A legitimate Gucci watch comes with a certificate of authenticity displaying a serial number, which can be confirmed with Gucci. This certificate is crucial for both new and pre-owned purchases.
• 7. Consider the Price: An exceptionally low price, significantly below the recommended retail price (RRP), is a strong indicator of a counterfeit product. Authentic luxury watches rarely, if ever, sell at deeply discounted rates.

By adhering to these guidelines, individuals can enhance their ability to distinguish between genuine Gucci watches and replicas, safeguarding against the acquisition of counterfeit items.

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Zelle is a convenient way to send and receive money directly from your bank account. Setting up a Zelle account through your online banking app or by going in to your local branch is a straightforward process. Follow these steps to get started:

Step-by-Step Guide for Online

Step 1: Open Your Banking App

• Log in to your online banking app using your username and password.

Step 2: Find the Zelle Option

• Navigate to the menu or services section of your banking app.
• Look for the option labeled "Zelle" or "Send Money with Zelle."
• Select the Zelle option to begin the setup process.

Step 3: Register Your Account

• Enter the required information, such as your email address or mobile phone number.
• Verify your email or phone number by entering the code sent to you via email or SMS.

Step 4: Link Your Bank Account

• Select the bank account you want to link to your Zelle account.
• Confirm the account details and complete the linking process.

Step 5: Complete the Setup

• Review and accept the terms and conditions.
• Finish the registration process by confirming your details.
• You should receive a confirmation message indicating that your Zelle account is ready to use.

Conclusion

Creating a Zelle account through your online banking app is quick and easy. By following these steps, you'll be able to send and receive money seamlessly with Zelle. Enjoy the convenience of digital banking!

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Note: The fixed blade knife dating guide is at the bottom of this page.
Since its inception in 1889, the Case Knife Company has been at the forefront of knife manufacturing. Collectors of Case knives have the unique opportunity to hold pieces of American history in their hands, with knives from each era of the company's production. Each knife isn't just a tool; it's a piece of art that represents a specific time in craftsmanship and industry.

Decoding the Age of a Case Knife

This article is here to sharpen your skills in dating your Case knives by looking at their tang stamps. But what exactly is a tang stamp? It's a marking found on the blade—often at the handle—that usually includes the brand name and often includes the production year of the knife. Case has been one of the few companies that consistently has used tang stamps to date their knives throughout their history, making it easier for collectors to verify and appreciate the age of their collectibles.

Use this handy tang stamp guide as a way to determining the age of your beautiful Case knives.

Who buys Case knife collections today? Finding buyers for Case knife collections can be challenging due to the aging of the market participants and the general decline in the economy. The market has seen a decline in dedicated dealers, largely due to older dealers retiring and a decreased interest among younger people to collect much of anything. This shift has led to fluctuating market values, making it more important than ever to understand who is buying and what they are looking for in a collection. That's not to say the market for Case knives is dead. It is not. But finding someone in your area to buy your entire collection lock, stock, and barrel might not be too easy.

In Closing Whether you're a seasoned collector or new to the world of knife collecting, understanding how to date your Case knives is key to appreciating their worth and historical significance. Remember, each stamp, each blade has a story, and with a little knowledge, you can uncover the tales of craftsmanship that make your collection truly unique. Happy collecting!

About Our Sponsor This article is sponsored by 2nd Markets of Nashville, Tennessee. Recognized as one of the top buyers of Case knife collections in the United States, 2nd Markets offers expertise and passion for these classic collectibles. If you're looking to assess the value of your collection or find a new home for your knives, contact them. Google: 2ND MARKETS KNIFE BUYER or go to https://www.2ndmarkets.com/sell-knife-collection.aspx

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When it comes to Randall Made Knives (RMK), the sheaths that accompany these iconic blades are almost as collectible as the knives themselves. The history of RMK sheaths is rich and varied, with different makers contributing to the legacy over the decades. From the early days of Clarence Moore to the current production by Sullivan's Holster Shop, each sheath tells a part of the RMK story.

Very Early Sheaths

1937: Very early, seldom-seen 'Basket Weave' sheaths were produced by various makers in 1937. Clarence Moore of Orlando, FL, was the original sheath maker for Randall Knives, starting his production in 1937 and continuously supplying sheaths until the spring of 1954.

Introduction of the Sharpening Stone Pocket

1942: The 'A' Model sheath, introduced by Moore, was the first to include a sharpening stone pocket, a revolutionary idea at the time.

WWII and Increased Production

1943-1944: WWII increased demand for Randall Knives, prompting W.D. 'Bo' Randall to seek additional sheath makers. Southern Saddlery of Chattanooga, TN, and H.H. Heiser Saddlery Company of Denver, CO, answered the request for bids. Southern only produced sheaths from June 1943 to the spring of 1944. It's believed that by 1944, Moore and Heiser could meet RMK's needs adequately.

1943 Heiser Sheath

1943-1964: H.H. Heiser began production of sheaths for RMK in the spring of 1943 and continued after the war until late 1964. Starting in late 1943, two rivets were added to the throat of the sheath for extra security and strength. This was discontinued in 1947 but would return in 1954 with the introduction of the Heiser 'C' Model sheath.

Post-War Production

1946-1964: Heiser 'Brown Button' sheaths were made in 1946 and from 1949 to 1964. Red & Brown Button sheaths first appeared in 1946 and were simultaneously manufactured by Moore and Heiser.

Brown Button Sheaths

1954: Heiser riveted Model 'C' sheaths were introduced with the first Model 14's and 15's. These sheaths featured canteen-style 'Lift the Dot' straps and brown button snaps on the stone pocket.

1958: Heiser made the first waxed leather sheaths for RMK in 1958 for the Model 16 diver's knife. Demand waned for the waxed sheaths limiting the production.

Transition to Maurice Johnson

1965: By early 1965, Heiser was no longer making sheaths for Randall, and Maurice Johnson of Orlando, FL, took over the entire RMK sheath production. The earliest Johnson sheaths used Brown Buttons with smooth nickel-plated brass 'baby dot' snaps in 1964.

1965-1970s: By late 1965 and into the early 1970s, Johnson was making riveted sheaths for RMK in the 'Rough Back' form only. Heiser 'C' model sheaths used seven small brass or steel rivets, while early Johnson sheaths originally had large copper rivets at the sheath throat. Later Johnson sheaths used smaller rivets throughout, including a few early 'Split Back' sheaths.

The Johnson's Contribution

1965-1982: Johnson made 'Rough Back' sheaths for RMK. He handed over the company to his son Johnny Johnson, who ran the business until his untimely death in 1991. Paracord made its debut in the early 1970s Model 'C' sheaths. Gold Paracord was first used from 1971-1972 before being replaced with the standard OD color still in use today.

Johnson's early 1970s Gold Cord

1990-1991: Johnny Johnson made some rare 'Smooth Back' sheaths, most likely in response to the growing popularity of the new Sullivan's design of the late 1980s.

Transition to Sullivan's Holster Shop

1986: Sullivan's Holster Shop of Tampa Bay, FL, owned and operated by Greg Gutcher Sr., started a business relationship with RMK in late 1986. Sullivan's took over the sole production of RMK sheaths in December 1991 and is currently the only authorized sheath maker for RMK.

1987: The 'Double Stitch' Sullivan's Model 'C' for Model 14 and 18 was first introduced in early 1987. Model 'C' sheaths for shorter blade lengths on Models 15, 17, and 18 all use the 'single stitch' method.

1995: Originally, Sullivan's used linen thread for their stitching. In 1995, they switched to synthetic thread, initially white in color. This was followed by a limited run of 'brown stitch' sheaths from mid-1998 through early 1999. Current production features a synthetic 'Tan' thread. RMK enthusiasts appreciate Sullivan's willingness to provide a sheath tailored to their specifications and the high quality of manufacture.
Examples of Various Sheath Models Currently Offered by RMK via Sullivan’s

In Conclusion

The sheaths of Randall Made Knives are not only functional accessories but also cherished collectibles that tell the story of the knives' rich history. It’s important to understand that Bo Randall was frugal and didn’t let things go to waste. Sometimes a sheath would sit for years before being used if the model wasn’t a top seller. This led to interesting combinations of sheaths, stones, buttons, and knives from different years. It’s a range rather than an exact year when dating your Randall knife. Collectors and enthusiasts alike continue to seek out these sheaths for their historical significance and craftsmanship, making them a vital part of the Randall Made Knives heritage.

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To narrow down the production range of a Randall Made Knife (RMK), examining the types of snaps on the sheaths and the sharpening stones in the leather pouches are two effective methods. These details provide valuable clues for accurately dating the knives and understanding their historical context. By closely analyzing these components, collectors and enthusiasts can gain deeper insights into the history and evolution of these iconic knives.

Dating by Snaps on Sheaths

1942-1945: Brass and plain metal snaps were originally used on most of the Moore, Southern, and Heiser sheaths during WWII RMK production knives. Many of the snaps were enameled in black or burgundy colors.


1943 HH Heiser Model 1 Sheath

Late 1943-1945: HH Heiser used logo snaps, though plain snaps were more common.

1945: Heiser and Moore began using the seldom-seen red lucite Randall logo snaps. Sporadic use of these snaps was discontinued in 1949.

1946-1947: Transition Heiser sheaths with red and brown snaps were likely made during this period.

1946-Late 1964: The highly sought "brown button" RMK logo snaps were used by H.H. Heiser and then by Maurice Johnson, who used up the remaining stock by late 1965.


RMK “Brown Button’ Logo Snap

1954-1964: The famous "Lift the Dot" canteen snap Heiser "C" model sheaths were produced. Initially, these sheaths had seven large silver rivets, but smaller rivets were eventually used by both Heiser and Johnson. These sheaths were phased out by the end of 1973.


‘Lift the Dot’ canteen snap

1962-1965: The early Johnson brown buttons and the transition brown button with smooth button sheaths were produced. The "baby dot" nickel-plated smooth snaps, a stronger harness strap, were first used by Johnson in early 1963 and fully integrated into his sheath-making process by 1964.

1965: Heiser's production was discontinued, and Maurice Johnson took over as RMK's sole sheath maker. He continued using "baby dot" snaps throughout his 18-year relationship with RMK. His son Johnny Johnson continued this practice when he took over the family business in 1982. He used the smooth snaps until his untimely death in December of 1991.


Early 1970s Maurice Johnson Model C Smooth Snaps

Late 1986-1995: The first "baby dot" or smooth button sheaths from Sullivan's were produced. Some Sullivan transition sheaths having one smooth and one logo snap were produced from 1995-1996. The RMK logo snaps on the sheaths, as seen today, were first used in 1995.

Dating by Sharpening Stone

This method is considered less reliable due to the ease with which stones can be lost or replaced.


Examples of Sharpening Stones over the years

1942-1946: The earliest stones used by Randall were a variant of a thin greenish-gray stone. Some of these were marked "BARBORUNDUM BRAND NO. 71 DRAFTSMAN'S STONE."

1946-1954: This period saw the introduction of the Soft Arkansas or Lily White Washita Stone. Most of these early white stones were made by Norton Abrasives.

Early 1950s: Included some grayish-marbled stones and reddish-brown stones with a fish hook sharpening groove.

Mid 1954-Early 1970s: The common two-part combination gray Crystolon stone was introduced. The earliest versions were marked "Made in the U.S.of A." with later ones marked "Made in the U.S.A." These two-part stones are commonly seen configured with either blue ink on the light side or yellow ink on the dark side.

1969-1972: During the Vietnam Era, RMK used a Soft Arkansas/Washita Stone (white stone) supplied by A.G. Russell.

Early 1970s: A solid gray, medium grit Crystolon stone was used briefly before being replaced by the Norton "Bear Brand" SP-13 Stone from 1973-1975.

Late 1975: The orange "Fine India" stone was introduced and is still in use today.

Understanding these details about the sharpening stones and sheath snaps can significantly aid collectors and enthusiasts in accurately dating their Randall Made Knives, providing a richer context to their historical value. It's important to understand that "Bo" Randall did not waste materials. As a result, products can appear across multiple manufacturing years, even after a transition. They used what they had on hand, and sometimes new materials would get mixed with old ones.

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Dating a Randall knife can be a real chore! The more you understand about the frugal nature of W.D. 'Bo' Randall and the 'First in, Last out' policy of the shop, you begin to realize that it's more of a range rather than an exact date. The more information you have on the subtle changes to production through the years, the better you can narrow that range and avoid buying a misrepresented knife. Blade steel and stamps have had slight variations over the years; here are some things to look for.

Steel

The earliest RMK blades were made from steel automotive springs. Since the early 1940s, RMK's primary steel has been a 'High Carbon' Swedish 01 tool steel. In addition to the Swedish 'tool steel,' RMK also uses 440B Stainless Steel. The debut of the 'Fish,' 'Oyster,' and 'Barkeep' knives in the 1940s marked when stainless became viable for future knife production, though some stainless was used as far back as 1938. ATS-34 was introduced in the early 1990s as an option for models #9, #10, #24, and possibly a few 'non-catalogue' models.

Blade Stamps

In the early 1980s, the United States Postal Service (USPS) switched over to two-letter abbreviations for each of the 50 states. Some blade stamps have FLA., and others have FL. To some degree, this creates a line between pre-1980s knives, but this is not totally accurate.

The stamp maker made up a few stamps at the time with the 'FL' logo in both large and small variants; these were used only on stainless steel knives. Old and new versions of the stamps are in use. You'll find that the 'FL' stamp is interchangeable with the 'FLA' stamp, but only on stainless steel blades and only on those made after 1984. You won't ever see a 'FL' stamp on any legitimate O1 'high carbon' blade of any size as made by RMK.

FL & FLA stamps

Around 1958/59, a double-stamped 'SS' marking was first used on Orlando-made stainless blades, not the 01 Swedish tool steel. This practice continued until around 1963 when one of the S's was dropped.

1958-1963 Double SS Stainless Steel Stamp

The single S was usually stamped low on the ricasso, known to collectors as the 'Low S.' This method continued through at least 1965.

1963-1965 the 'Low S' Stainless stamp

The S was then moved up and adjacent to the RMK logo stamp. These adjacent S stamps are known to collectors as the 'Separate S.' They were made in Orlando from 1966 to 1971.

1966-1971 'Separate S' Stainless stamp

By 1972, stainless steel blades from Orlando are stamped with an RMK logo stamp with the S integrated.

From 1957-1977, RMK contracted to have their stainless blades forged in Solingen, Germany. This gave them an expedient, low-cost alternative to meet demand as the United States entered conflicts in the Southeast Asian war 'Vietnam.' The first Solingen blades were used on the Model #14 and #15. They were marked vertically on the ricasso as 'RANDALL MADE, SOLINGEN GERMANY.' By 1963, the marking changed to a single vertical ricasso stamp of 'STAINLESS' with the Solingen logo etched horizontally where the Orlando stamp normally resided, often with a single 'S' etched in too.

Vietnam war Era Solingen Stainless Stamp

RMK LOGO Stamp Letter Spacing Pre-1973

From the earliest, the Randall stamp on the blade remained seemingly unchanged. The 'O' in Orlando began about a half space indented from the 'R' of Randall. The comma between ORLANDO and FLA was about half a letter high, and no space separated it from 'FLA.'.

About the mid to late 1960s, the stamp was apparently changed slightly. The comma between Orlando and FLA was reduced in height, a small space was introduced between the comma and FLA, and because of that, the 'O' of Orlando was moved more directly under the 'R' of Randall, indented only about 1/8 letter or so.

Example of the letter spacing changes on the stamp from 1950s to late 1960s

Understanding these nuances can help you better date a Randall knife and appreciate the craftsmanship and history behind each blade. By paying close attention to the steel type, blade stamps, and subtle changes over the years, you can make a more informed purchase and avoid misrepresentation. Happy collecting!

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The action figure market remains a dynamic and evolving sector within the broader collectibles economy. As of mid-2024, the market reflects both strong demand for certain vintage and limited-edition figures and an oversupply of mass-produced figures that have failed to retain or appreciate in value.

Market Dynamics: Supply and Demand

The principle of supply and demand plays a crucial role in determining the value of action figures. Rare and vintage figures with limited production runs, particularly those from the 1980s and 1990s, continue to see high demand. These figures, often tied to nostalgia and iconic franchises, command premium prices on platforms like eBay. Conversely, modern mass-produced figures, particularly those tied to less popular franchises or overproduced lines, suffer from an oversupply issue. Collectors are increasingly discerning, focusing their spending on pieces that offer rarity, historical significance, or unique features.

Example Prices from eBay Auctions

Treasure:

• A 1985 Transformers G1 Optimus Prime (Complete) recently sold for $1,500. This figure's value is bolstered by its condition, completeness, and the enduring popularity of the Transformers franchise.
• A 1984 Star Wars Vintage Kenner Boba Fett (Factory Sealed) fetched $2,800. The value here is driven by Boba Fett's iconic status and the rarity of factory-sealed items from this era.

Trash:

A 2022 Marvel Legends Eternals Figure (Loose)) sold for $8. This figure, from a line tied to a less successful Marvel film, is widely available and has not gained traction with collectors.

A 2010 DC Universe Classics Aquaman (Loose) went for $12. Despite being a popular character, overproduction and a lack of unique features have kept prices low.

What’s Hot and What’s Not

Hot:

Figures tied to iconic franchises with strong fan bases, such as **Star Wars**, **Transformers**, and **G.I. Joe**, particularly those from the 1980s and early 1990s. Limited edition and exclusive figures from modern lines, such as San Diego Comic-Con exclusives, also see strong demand.

Not:

Figures from less popular or overproduced lines, like those from the **Eternals** or **G.I. Joe: Classified** series, struggle to maintain their value due to high availability and lower demand.

Conclusion

The current action figure market favors quality, rarity, and nostalgia. Collectors are willing to pay a premium for well-preserved vintage items and limited-edition modern figures, while mass-produced and less iconic figures struggle to find buyers. As the market continues to evolve, savvy collectors and sellers should focus on acquiring and preserving figures that meet these criteria.

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Randall Made Knives, founded by Bo Randall in 1938, is renowned for its handcrafted knives. Each model has its unique history, design, and purpose. Below is a guide to the first 11 models and the years they were released.

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1943
Model 1 - All Purpose Fighting Knife: The iconic Randall knife, designed for military use. This is the knife made famous by Allied combat troops in World War II and since widely used in all theaters of war.

Model 2 - Fighting Stiletto: This is a heavily made dagger or dirk. The knife is shaped along the lines of a famous British Commando knife, but is larger, stronger, and has a more comfortable grip.

Model 3 - Hunter: An ideal all-around, heavy-duty sportsman's knife. Scientifically designed for every outdoor use and our most popular sporting model.

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1945
Model 4 - Big Game and Skinner: Similar to Model #3, but with a more curved blade. This knife has been extensively used by Alaskan and Canadian guides, trappers, and sportsmen.

Model 5 - Camp and Trail Knife: This is a straight-bladed knife preferred by many for all-around camp and trail use. Also, ideal for yachtsmen and sailors for general boating purposes.

Model 6 - All-Purpose Carving Knife: A knife designed for ideal meat tableside carving.

Model 7 - Fisherman-Hunter: Similar to Model #3 except this knife is smaller and lighter. Ideal for small game, creel, or tackle box.

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1946
Model 8 - Trout and Bird Knife: A small game knife for cleaning fish and feathered game.

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1947
Model 9 - Pro-Thrower: Accurate, balanced, and scientifically designed for those desiring a practically indestructible throwing knife.

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1948
Model 10 - Salt Fisherman and Household Utility: A versatile knife for fishing and household use.

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1952
Model 11 - Alaskan Skinner: The original drop-point blade. Designed by Tommy Thompson, noted Alaskan guide, in 1952 for big-game skinning. The point is dropped below the top of the blade to prevent cutting too deeply through skins when used point first.

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Randall Made Knives, founded by Bo Randall in 1938, is renowned for its handcrafted knives. Each model has its unique history, design, and purpose. Below is a guide to models 25 - 28 and the years they were released.

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1988
Model 25 - The Trapper: Drop-point hunter-style knife, similar to Model #11. Handle construction is reminiscent of a 1930's design.

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1990
Model 26 - Pathfinder: Excellent skinning and outdoor knife with a drop point. This knife has become one of our more popular small size hunting knives.

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2000
Model 27 - Trailblazer: An ideal all-around heavy-duty sportsman's knife.

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2010
Model 28 - Woodsman: Small Drop point hunter w/ micarta handles.

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2012
Model 27 - Mini Trailblazer: 3-1/2 inch blade version of the Trailblazer.

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These grades show how worn a lighter is. They follow rules used for years to keep things clear when buying, selling, or talking about lighters. Grading helps with consistency in the buying, selling, and advertising of collectible lighters.

UNUSED GRADES

The term UNUSED refers to a piece which has never been used. It has never been filled with fluid, fired or struck, or used. The unused grades range from a perfect A+ to an unused but showing signs of wear B.

Unused lighters can be divided into four major categories:

A+

MIB (10) STILL SEALED.Mint in box. LIKE NEW. The highest grade available. Where appropriate, the lighter is still inside its OMP (Original Manufacturer's Packaging). The orange seal is intact. Such a piece on close inspection shows NO scratches, dents, or other evidence of handling or contact. It is literally like the day it was made.

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A

MINT (9).LIKE NEW. The lighter is like new and has the original orange seal still intact but is lacking its original packaging. Otherwise C10.

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B+

UNUSED NEAR MINT (8). NOT SEALED. Has some distracting contact marks or blemishes in prime focal areas. Luster may be impaired.

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B

UNUSED VERY FINE (7). NEVER STRUCK. All original parts. Refers to a lighter which has a moderate number of scratches on its surface. A few minor edge nicks may be present, although they must not be of a serious nature. Surface may be spotted or lack some luster.

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USED GRADES

Lighters that have been carried and lit are USED. They have been in circulation, meaning they have been handled, pocketed, and carried, sometimes for decades. As a result, they are worn to one degree or another. Collectors have established the following grades for rating just how used a lighter actually is:

C+

USED FVF (6) — FINE VERY FINE. The wick has been lit, and the lighter has been carried and used, but it remains in excellent overall condition. Minimal wear is visible on the surface, and the insert may show signs of fluid use but is otherwise in good condition. Specific details on wear and fluid use should be noted.

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C

USED FINE (5) — FIRED. The lighter shows small traces of wear on the highest points, indicating regular use. The insert may have residue from fluid, and the wick may show signs of use. Specific information on the condition of the insert, fluid residue, and surface wear should be itemized.

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C-

USED VERY GOOD (2) — NOTICEABLE WEAR. Wear is evident on nearly all high points, with at least half of the original mint luster still present. The insert likely shows clear signs of fluid use and wear, and the lighter may have minor dents or scratches across its surface.

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D

USED GOOD (1.5) — HEAVILY WORN. This grade reflects heavy overall wear, with most design details worn down. The insert shows significant use, likely with fluid stains, a used wick, and overall signs of extensive handling. Luster is generally only seen in protected areas.

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D-

USED FAIR (1) — FIRED AND WORN. The lighter is heavily worn, with the insert and case showing significant signs of use. It has been filled, fired, and carried extensively, resulting in a well-worn appearance. All original parts are present, but the condition reflects heavy use.

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F

POOR (0.5) — JUNK. The worst possible grade, is where the lighter is rusty, incomplete, and may be missing parts. The insert is likely damaged, with severe wear or rust. Such lighters are typically used for parts rather than as collectibles.

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The iGuide labeling app enables human review of iGuide's AI model. These instructions are for iGuide Editors who are charged with training the model. From here on out we will refer to the right-hand side as RHS and the left-hand side as LHS.

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To Get Started

1. Go to iguide.net and log in.
2. In your dashboard, expand Editor and click soldster2iguide.
3. Scroll to the bottom and click the Start button.
4. In the category search, enter KNIFE, then select it using the down arrow. In the keyword search, enter HEN & ROOSTER.

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Step 1 - Search for a Match

The Left-Hand Side (LHS) is a sales record from Soldster.com. Your task is to:
1. Either match the LHS to an existing iGuide page (RHS) or, if no exact match exists, create a new page.
2. If needed, update RHS fields.

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! BE CAREFUL !
Do not choose No Match unless you are 100% certain there is no RHS exact match.

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Example

LHS title: Hen & Rooster Germany 232-MOP Genuine Mother of Pearl Copperhead MINT
Your action: In RHS search, enter 232 in the search field and click Go. (232 is a good search limiter in the title as it is the model number)

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Results may include:
1. No match
2. A list of potential matches and a "No Match" option
3. A single item and a "No Match" option


In this example, it's #2 (a list of potential matches). None in the list is a match to the LHS so we will select No Match.
Note: There are 232 copperheads but we need 232 MOP. That is a Mother of Pearl Copperhead.
If the LHS has the year 2008 in the title but the RHS does not, even when everything else is the same, then it is not a match.

You may be prompted to combine multiple exact LHS listings. Always select Yes, Process All.

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Step 2 - Review and Update LHS and RHS as Needed

1. LHS Task
Check the LHS GRADE field. Is it empty? If it has a value, is it correct based on comparison to the LHS Grade Description field? If both are correct, proceed to RHS tasks.


Side note: It is important to remove any superlatives like MINT, NEAR MINT, USED, RARE, etc. from the RHS. You will make sure the Grade matches on the LHS but don't add condition grades to anything on the RHS.

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2. RHS Tasks
- Copy the Description Complete by pressing the blue move button.

- Country - Highlight Country on RHS and press the blue move button.

- Year - Highlight Year (lowest year if era range) on RHS and press the blue move button.

- Maker - Highlight maker name on RHS and press the blue move button.

- Model # - Highlight the model number on RHS and press the blue move button. Remove any dashes and use spaces instead. (e.g., 232-MOP should be 232 MOP).

- Era or Year - Highlight Era/Year (include era range if available) on RHS and press the blue move button.

- Type - Highlight Type on RHS and press the blue move button.

- Handle Material - Highlight the handle material on RHS and press the blue move button.

- Limited or Special Edition - Highlight the Edition (if available i.e. 'Cattle Rustler') on RHS and press the blue move button.

- Blade Material - Highlight the blade material (unless the material is Stainless) on RHS and press the blue move button.

- Check the price sold on RHS vs LHS BasePriceAsk. Press the blue move button if the field is not already populated.

- Press the Build button to populate the Description Brief field.

- Click Save & Exit to finish.

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Step 3 - Photos (if exact match)

In this example, we are creating a new iGuide listing as there wasn't an exact match. In the scenario that you found an exact match. Make sure the LHS and RHS match and change RHS to match accordingly. Click Save and exit. Then you will reach the photo page. The RHS has the photos associated with the exact match/pre-existing iGuide listing. If the photos look good and showcase the item in MINT CONDITION hit Save and Exit and you are done. If the photos from the LHS are better and showcase the item in its best form. For example if the RHS has pictures of the item in Mint Condition with the box and the LHS has the item in mint condition without the box, then you would chose the RHS.

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Hey there, Beanie Baby aficionados and curious minds alike! One tidbit about Beanie Babies that might surprise you is the shifting sands of their market values. Let's dive into whether these iconic stuffed toys from the '90s still have a spot in the collectors' market today.

What are Beanie Babies?

Originally launched in the early '90s, Beanie Babies became an instant sensation thanks to their unique design—understuffed animals with plastic pellets ("beans"), which gave them a more flexible, life-like feel. Created by Ty Warner, these toys weren't just playthings but became a cultural phenomenon, sparking one of the first internet-driven collecting crazes.

During their peak, Beanie Babies were more than just toys; they were investments. Parents and collectors alike hunted for rare editions, hoping their acquisitions would soar in value. However, as the initial frenzy waned, so did interest and prices, leading many to wonder about the current state of Beanie Baby collecting.

Market Dynamics

The market for Beanie Babies today is a fascinating study in nostalgia, collectibility, and economic fluctuation. While the bubble of the '90s has certainly burst, a niche market persists for certain rarities. The dynamics have shifted from widespread mania to a more subdued, selective collector interest, with prices reflecting this change.

Factors Influencing Value

Several key factors impact the value of Beanie Babies, including:

• Grade: The condition is paramount; mint condition with original tags is what collectors want.
• Rarity: Limited editions or those with production errors fetch higher prices.
• Demand: Popularity of specific characters can drive up value.
• Provenance: Historical significance or interesting stories attached to a Beanie Baby can increase interest.

Risks and Rewards

Collecting Beanie Babies, like any collectible, comes with its own set of risks and rewards. While finding a rare, sought-after edition could result in a significant payoff, the fluctuating market means there's also a risk of not recouping your investment.

Does anybody buy Beanie Babies today?

Yes, but the market is more selective. The days of easy sales are gone, replaced by a market of dedicated collectors and enthusiasts. Challenges include a decrease in active dealers and changing collector demographics.

Yet, not all Beanie Babies have lost their sparkle. Certain editions—like the first-edition Princess Diana bear or Peanut the royal blue elephant—can still command impressive prices.

Learn More About Beanie Babies Prices

For those interested in diving deeper into the world of Beanie Babies collecting or simply curious about the value of a childhood toy, iGuide’s Beanie Babies price guide is an invaluable resource. It offers up-to-date pricing information, helping you understand the current market values of your Beanie Babies. Learn more.

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If your Lincoln Memorial penny has a date before 1982, it is made of 95% copper. If the date is 1983 or later, it is made of 97.5% zinc and plated with a thin copper coating. For pennies minted in 1982, when both copper and zinc cents were made, the safest and best way to tell their composition is to weigh them. Copper pennies weigh 3.11 grams, whereas the zinc pennies weigh only 2.5 grams. Be sure to use a scale that is accurate enough to detect the tenth of a gram (0.10) or better. If you weigh a zinc penny on a scale that can only register full 1 gram increments, the penny will usually display 3 grams, since the scale rounds the 2.5 gram zinc penny upwards to 3. The wrong type of scale can be misleading when you are trying to sort copper and zinc pennies.

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There are a few tools of the trade all precious metals dealers have in their toolbox. Here is a quick rundown of the most important ones.

1. Digital Scale 
You weigh precious metals on the scale as one of the steps in determining your bid. Your scale should be able to weigh in grams, pennyweight and troy ounces. Carats may also proof useful if you plan on dealing in diamonds, but not necessary otherwise. There are all kinds of scales on the market. You can spend a lot of money on a fancy digital scale able to weigh thousands of grams, but this is overkill. A good 1000 gram scale like the one included in our kit can be bought on Amazon for around $25.

Since you will be weighing silver as well as gold and platinum, we recommend that your scale be able to accommodate at least 1000 grams. Our Affiliates kit includes a 1000 gram digital scale.

You can start with a small digital scale and expand to a more expensive model once your gold buying business grows and you learn what will fit best for your business.

2.  Jeweler's Loupe
This is probably your most-used tool. We recommend a 30X loupe rather than the standard 10X loupe, because sometimes the markings on gold jewelry can be very tiny. Our Affiliates Kit includes a nice 30X loupe.

3.  Testing Acids
A set of testing acid will include 10K, 14K, 18K, 22K, Silver and Platinum testing solutions. The set of acid in our Affiliates Kit contains all the acids you will need to get started.

4.  Testing Stone
Using a testing stone along with the acids is one way of testing gold. We use a scraper and place the drop of acid directly on the piece, but many buyers prefer the testing stone. You take the ring, scrape it along the stone, and a small mark is left on the stone. You then apply the acid solution to the stone. If the mark disappears, the piece is the karat quality of the acid used. We include a testing stone in our Affiliates kit.

5.  Pliers and prong openers for removing stones
Of course, you will not be removing stones before you buy rings (you will simply deduct a quarter or half gram from the weight depending upon the size of the stone). You do not want to pay gold prices for large stones that are only worth a few pennies each. (The sad truth is that most colored stones, with rare exceptions like emerald and ruby, have very little value).

Sometimes your customers may want to keep the stones. You can remove them for free or charge a small fee for this service. Normally, we do it for free.

However, once in your possession and before you ship to us, you need to remove as many stones as possible. We don't want colored stones nor small diamonds. Large diamonds of 2 carats or more are of interest.  You can buy pliers and prong openers on Amazon.com or eBay.com. We do not include these in the kit.

6. Magnet
You use a strong magnet as a quick test to eliminate items made of steel, or containing ferrous metal. Anything that sticks to the magnet is not precious metal, but many non precious metals (such as copper) are also not magnetic, so this is not a fool proof test. Also, necklaces often have a steel clasp attached to a solid gold chain. The magnet test is a good way to weed our plated junk and costume jewelry. We include a very strong Rare Earth Magnet in our Affiliates Kit. It is just one more tool that helps guide you to the gold mine.

7. File or scraper
You use a file or Xacto knife to make a small scratch in an unobtrusive place on any items you wish to test with acid solution. The reason you do this is so you cut through any gold plating or coating that may be present on items that may only be gold-plated, not solid gold. After making a tiny scratch, you place a drop of acid directly onto the piece and observe the reaction. We include an Xacto knife in our Affiliates Kit.

8. Calculator
A small pocket calculator is needed for doing your final tally before yuo write your check. We include a good calculator in our Affiliates kit.

9. Appraisal Forms
We provide Appraisal Forms for writing up your purchase offer. You use these to wrrite the wight and tyope of each piece. Then you sum up the sub-totals for a grand total at the bottom. This grand total is the amount of your offer for that group of items.

10.  Lighting
You need a good light source when looking at jewelry, so you can better see the markings. Invest in a couple of good OTT lights (check Amazon and eBay for pricing). These are a good investment. We do not include lighting in the Affiliates kit.

11. Cash
Last but not least, have some cash on hand. Although we recommend paying by check whenever possible, some of your customers will want cash, or hesitate to accept a check. In those cases, you need enough cash on hand to cash the check for the seller. How much to have on hand depends on the size of the group you will be buying from, or your venue. If you are setting up at a flea market or local antiques shop, you might need more than at a gold party.

There you have it, a complete list of tools of the trade. With these tools in your toolbox, you are ready to go forth and mine for gold, silver and platinum. 

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Many collectors ask iGuide about the marketability of limited edition porcelain plates issued by The Franklin Mint and other private mints. Beginning in the 1970s, The Franklin Mint issued limited edition porcelain plates in many series and on many subjects. They also issued limited edition plates made of solid sterling silver. Massive advertising campaigns in magazines such as Parade touted the desirability and 'limited' nature of these collectibles. The original issue prices ranged from $30 to $300 EACH!

The sad truth is, in today's market, these porcelain plates are worth only a fraction of their original price in most cases. Thus, most fall into the TRASH category. But don't throw the baby out with the bath water. Sterling silver limited edition plates have good value due to their silver content. While the sterling silver plates often will not fetch more than their original issue price, in many cases they have at least held their value.

VERDICT:

PORCELAIN PLATES: TRASH
PEWTER PLATES: TRASH
STERLING SILVER PLATES: TREASURE

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Every movie poster collector knows what a window card is, but only a handful of collectors have more than a passing acquaintance with that size of movie poster known as the mini-window card. I myself had been dealing in movie posters for several years and had never knowingly seen one. Then one day at a convention in Houston, fellow nostalgia fantastic Robert Brown showed me a whole album filled with the little gems, most of them on blockbuster titles and all of them just gorgeous. Even then, I thought they were very nice, but had no desire to own one. Nevertheless, being the opportunist that I am, I kept my eyes open in case I could find one to sell or trade to Robert. To my great surprise, I couldn't turn up even one in the several months following.

So the next year at the Houston convention, I quizzed Robert extensively on the little buggers. I even traded him out of a few of his duplicates, and against my better judgment, I bought a couple of them. I was hooked! I determined right then and there to collect as many different ones as I could, and more importantly, to get at least one more than Robert had, even if he got more. It has taken 12 years and many dollars, but that day has finally arrived. The actual numbers are academic because Robert has not counted his lately, but we both agreed at the Dallas Big D show in July that we have about the same number. We are each closing in on 300 different. Whether I have more than Robert or not doesn't seem to matter any more because I know I am within striking distance. It's more important now to see if I can get to the big three-oh-oh.

What is it about these midget cards, smaller even than lobby cards, that attracts and enchants the few of us who collect them for their own sake? I wish I knew. This article, besides telling you all you ever wanted to know about mini-window cards but were afraid to ask, will also be an attempt to answer this question.

The difficulty of capturing the essence of these little creatures shows itself even in a rudimentary description of them. For example, they can be anywhere from 8 1/2 x 11 inches to 8 1/2 x 14 inches, depending on the artwork and on whether or not the theater imprint has been trimmed off the top. The artwork of all of the early Columbias and First Nationals, most of the Warner Bros. and MGM's, and some of the RKO's and Paramounts, exceeds 11", leaving very little room at the top for the theater imprint. The artists at Universal, Fox and Twentieth Century-Fox hardly ever went over the 11" mark, and RKO and Paramount only rarely did.

Mini-window cards can be found then in four different ways: 8 1/2 x 14 untrimmed with or without theater imprint, 8 1/2 x 14 untrimmed with one or more imprints pasted or stapled over a blank or earlier imprint, and trimmed to any size down to 8 1/2 x 11. I personally prefer them untrimmed in good shape with a theater imprint, although there is probably little difference in value for any of the ways they are found. More about imprints later.

The paper stock these cards are printed on is also a complicating factor. In general, for example, when Warner Bros. printed the lobby cards for a movie on linen stock, the mini-window card was done the same way. Same for early Columbias and their coated stock. They were all printed on a slightly smaller weight paper than the lobby cards (nowhere near as thick as a regular window card).

One real mystery has developed which I hope to shed some light on here. There are two different mini-window cards for The Adventures of Robin Hood -- one flat and one on a linen-like paper. I have seen both, and I don't really know why there is such a discrepancy. This anomaly may also involve other Warner Bros. films, but none has yet come to light. At first, I thought it was an "other company" piece, but I ruled this out because the artwork is identical. Besides, I know of no "other company" mini-window cards. Of course, since all the lobby cards I have seen are on linen paper, the flat mini-window cards from this title could be counterfeit, but this is not likely. More probably, the flat one was either a purposeful experiment or a mistake. Some of the mini-window cards somehow got printed on flat paper instead of linen. The only other explanation I can think of, which has been advanced by at least two collectors, is that the flat one is a same year reissue. My own theory is that the flat ones were not a reissue but a second printing, and that the printer had temporarily run out of linen stock.

There are only two characteristics of mini-window cards that are not controversial. They are always printed on the vertical, like an insert, and they were hardly ever reissued. In fact, I know of only one reissue mini-window card--the 1939 reissue of All Quiet on the Western Front. Moreover, this one may have been reissued because when the movie first came out in 1930, there were no mini-window cards.

This brings me to my next point. When were they made? It seems that they came in with the talkies and were killed by the returning World War II soldiers and sailors. More likely, they were determined to be useful when the neighborhood concept materialized early in the Great Depression and they disappeared along with the bulk of the neighborhood candy and cigar stores and cafes after the war as people moved to the newly-built suburbs. They also could have succumbed to the paper drives during the war, and as the smallest poster size, were just never revived.

At any rate, my earliest card is dated 1932 and my latest one is 1947, and I have not seen any dated earlier or later. In a study of the 276 different that I own, which is probably a pretty representative sampling of those remaining, they average between 13 and 22 different for each year from 1932 until 1937, when I have no less than 38. I have 22 dated 1938, and 43 for that glorious year 1939. There are 20 for each of the next two years, and then they taper off gradually until 1947. What I know of Robert's cards bears out these statistics. While there is some overlap, the percentages are similar. The obvious, although unscientific conclusion, is that they were used steadily until the war began, and then, like nearly everything else during the war, they were gradually put on the back burner.

A breakdown of my cards by major studios yields interesting results also. The first and last years for each one follows: Universal....1935-44
Paramount....1932-40
Fox/20th.....1932-44
RKO..........1932-40
Columbia.....1932-42
MGM..........1933-43
Warner Bros..1933-47


As can be easily seen, if this chart is accurate (and Robert's cards change these statistics only slightly and on the later end), it probably rules out both a Dracula and Frankenstein mini-window card, but does not preclude one for each of the many sequels and similar films through 1944. Moreover, there is a good probability of the existence of a King Kong mini-window card. Indeed, I have seen the pressbook, and there is a picture of one there. Whether any were ordered by a theater or a poster exchange is another question, however, and whether any were printed is even more tenuous.

Of even greater importance to many collectors is the likely non-existence of any silent mini-window cards or any of the great talkies before 1932 or those wonderful RKO film noir pictures from 1941 on (including Citizen Kane). Apparently, neither Paramount nor RKO had mini-windows printer after 1940. Sadly, it seems that Universal did not start using them until 1935, and then, along with Fox, Columbia, and MGM, the studio bowed to the wartime paper conservation. Warner Bros. was the only studio whose mini-window cards can be found from the beginning to the end of the run. I wonder if they knew that they were designing the last midget cards. Finally, the four poverty row studio mini-window cards I have (three World Wide/Tiffany cards and one Mascot serial card) date from the early 1930s. Alas, no Republic or Monogram mini-window cards have been reported, and very few cards of serials exist. Similarly, none of the great Disney or Fleischer studios cartoons were captured in the mini-window format.

As you would imagine, Warner Bros. mini-window cards are the most common, but Paramount runs a close second. This is surprising, since Paramount did not have a single mini-window card printed after 1940. Next down the line are MGM, Twentieth Century-Fox, and Universal in that order, with around the same numbers surviving (about two-thirds as many). Then comes Columbia, RKO, and Fox before the merger with Twentieth Century (about one-fourth of the surviving titles). Finally, with only two to four known are Tiffany/World Wide and Mascot. These figures include both blockbuster titles and non-star titles, because I relentlessly pursue any title I don't have.

My goal is to have one untrimmed mini-window card for every picture they were made for. As you can guess, this disease will be terminal. By the way, for the purposes of this survey, First Nationals were combined with Warner Bros., and Cosmopolitans were counted as either MGM or Warner Bros., as appropriate. Finally, Fox and Twentieth Century-Fox were arbitrarily kept separate.

Common sense would tell you that these tiny gems were used in tiny places, and your logic has not failed you. Like regular window cards, which were used in grocery stores and banks and other large outside store windows to advertise the movie at the local theater, mini-window cards were used in a similar way. They were mostly placed in glass cases inside the store by the cash register in such establishments as cafes, drug stores, cigar stores candy stores, and the like--usually taped inside the case facing out.

This fact alone accounts for the wholesale decimation of the mini-window card population, regardless of the print run, because these places tended to be mainly frequented by people from the neighborhood who would want to know what was playing down the street Tuesday and Wednesday at the Roxy. In fact, they might have no other way of knowing unless they happened to pass the theater and check the marquee. And if the star on the card happened to be a favorite of a good customer, the proprietor of the store would gladly give the poster to him to keep his business. Besides, it didn't cost him anything. Then, when the theater manager came to collect the mini-window card to send back to the poster exchange, if the shopowner had given it away, it wasn't any big deal because it only cost him three cents. You have to come to the conclusion that the very nature of their use contributed to the eventual destruction of thousands of these posters.

Another contributing factor to the small number of mini-window cards remaining was the subsequent treatment of them by theater poster exchange, movie memorabilia dealers, and even collectors. I heard one horror story of a poster exchange folding them in half and using them as alphabetical markers for one-sheets and lobby cards! Again, probably because of their size, their low cost, and their general flimsiness, theater managers and poster exchange operators tended to give or throw them away. Alas, mini-window cards became victims of their own beauty and economy. Similarly, they were largely ignored or treated as step-children by poster dealers who obviously thought that they would not be wanted by any serious collector. Collectors themselves unknowingly continued the destructive process by buying or trading for them only as fillers until they could get a larger piece on that particular film. Moreover, while a particular size of poster is even today typically in an upswing or a downswing of a cycle, mini-window cards have been since their inception on a perpetual downswing, never reaching anywhere near the popularity of first one-sheets, then lobby cards, and now three-sheets and foreign posters. Finally, there never were very many of them in the first place. There is no way, of course, to get an accurate print run, but an educated guess based on discussions with several collectors puts it at from 100 to no more than 500 for each title. Allowing for all of the destructive possibilities described above, there are probably only from zero to 20 remaining today for any one title. Exceedingly rare, to say the least.

When I first started collecting these midget jewels, I was amazed when I would go up to a big dealer from New York or California and ask him if he had any mini-window cards, and he would say, "What?" When I would describe them further, he would invariably answer, "Oh. No, I never see those." On the other hand, when I would approach a dealer from the middle West or the Southwest, I would often find one or two, or at least not have to describe them to him. Moreover, as I began noting theater imprints, I found them proclaiming such grand movie houses as the Kozy Theater--Granite, Oklahoma or the Orpheum--Lancaster, Wisconsin or the Deluxe--Spearville, Kansas or my personal favorite--the Empress Theater in Waurika, Oklahoma. I soon discovered that the vast majority of the surviving imprints came from the middle part of the country, and not from the two coasts or Chicago, as you might expect. In fact, I have found only one from the West Coast and none from the East. The Nifty Theater in Waterville, Washington is the lone coastal imprint.

It is my conclusion that most mini-window cards were ordered by small-town theaters in America's heartland, where there was only one theater per town. The rest, a small minority, were sent to neighborhood theaters in larger cities, but have since been lost through the processes described above. Another reason for their prevalence in the Southwest (and Oklahoma especially) may have been because the Smith Brothers, who operated a theater poster exchange in Canton, Oklahoma for many years, liked them and kept them (or sold them to Robert in Oklahoma City).

Incidentally, there is yet one more anomaly regarding mini-window cards. Many pressbooks will have a picture of one, but this is no guarantee that it was ever ordered or even printed. Furthermore, even though they may have been printed and used, there is no guarantee that any still exist today. Conversely, even though the pressbook may not list it, it may still exist. Some pressbooks were not very elaborate, and others may not be complete, either missing a page or not taking the trouble to have a photo of such a small, insignificant piece. At any rate, the pressbook should not be used as a bible; it is not infallible.

What films were midget cards produced for? Robert Brown says all of them within the years noted above for each studio, but that seems impossible. That would mean thousands and thousands of cards have been lost with no trace, since there are less than a thousand known titles. It seems more likely that there was some systematic way of deciding which movies needed them and which didn't. This is probably the most exasperating and unanswerable question of all.

Something needs to be said about the artwork itself. It should be remembered the mini-window cards were posters, not scenes from the film. They were designed, like the other posters, to get people to see the movie. Sometimes they were exact reductions of the one-sheet, and sometimes they were very similar to it, with minor color variations or rearrangements of the elements. Often they were completely different from all the other posters in the ad campaign. There is not much consistency, even within one studio, although Twentieth Century-Fox favored drawings rather than photos, and almost always simply reduced the one-sheet. Although each studio eventually developed a distinctive look, at any given period during the life of the genre, it could have drawings only, with no stars, or drawings with stars, photos only, or any combination of these. The only consistent thread running through 99% of them is that they are knockouts--even the non-name titles, but especially the linen cards. they all have fresh colors, no folds, and with the imprints, they are brimming with history. In a word, they are simply beautiful.

Finally, a little bit about pricing. First, there's the interminable argument about trimmed vs. untrimmed. My preferences having already been demonstrated, a slight premium is not inappropriate for an untrimmed mini-window card. Having said that, I realize I might have just cost myself several hundred dollars, but I have to be honest. Untrimmed cards are just more attractive. The final judgment remains, however, between the buyer and the seller, and it will always be so. Regarding price as related to one-sheets, lobby cards, etc., my opinion is that they should be priced about the same as, or a little more than, a title card. I've discussed this at length with many collectors and dealers, and the range has been surprisingly small. To a man, we agree that they are probably worth not less than the value of a scene card and not more than an insert form the same movie. From here on--caveat emptor!

Before I close, I would like to thank several people specifically for things they have done for me during my quest for these posters--Robert Brown for getting me started and for keeping me going during the lean years; Gene Andrewski for first calling attention to their importance in the early days and for being one of the first real collectors; Steve Sallye for finding me my only serial card and for pointing me to midget cards at shows; Jon Warren for selling me a lot of early Paramounts at a reasonable price and for giving me the opportunity to finally get these thoughts down on paper; Lee Brinsmead for trading me a nice lot of cards and for being an all-around good guy about letting me have first shot at any he gets; Gary Vaughn, who kept Saratoga for me until I could get it back and who brokered the deal that lost Casablanca but got so many great others; and mostly Gene Arnold, who sold me the absolute best one in my collection and who still saves them all for me until he sees me; and all the other good guys who do the same. You know who you are. Thanks.

In conclusion, let me make the standard disclaimer. This article was written by picking the brains of several collectors and dealers, pooling all our ideas, and, using the information collected, coming to what I hope are logical conclusions. The information here was not gleaned from any written source, because I couldn't find anything on them; the conclusions are my own, and I take full responsibility for them.

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Is Hummel art considered great art? By the criterion of widespread acceptance, the creations of the youthful artist who later became a religious nun, affectionately known as "hummele," certainly merit recognition. If popularity underpins greatness in art, then her oeuvre undeniably qualifies. Hummel Art, recognized and adored by millions, spans the gamut from postcards costing mere cents to figurines fetching thousands of dollars. Created less than fifty years ago, Sister Hummel's works are not only celebrated worldwide as exemplary art but also highly sought after by collectors.

Sister Hummel, like many pivotal figures in art history, was deeply influenced by her spirituality. This profound religiosity infused her work, as seen in pieces like Madonna in Red, making religious-themed Hummel art especially coveted. This fervent collection persists despite a broader decline in religious engagement, highlighting her capacity to evoke deep emotional resonance through her devout representations.

Beyond their religious significance, Hummel's artworks appeal to a wide audience for their vibrancy, dynamism, and narrative quality. They evoke nostalgia, capturing moments of childhood experience with relatable depth and emotion. For instance, Stormy Weather vividly portrays the mixed awe and fear of a thunderstorm, enabling collectors to revisit their own past emotions. Other pieces, like Doll Mother and the Pharmacist, resonate by invoking memories of childhood aspirations and experiences.

Hummel art's collectibility isn't limited to its emotional or aesthetic appeal; practical aspects play a role too. Its affordability and perceived value attract a segment of collectors, though this may overlook the deeper messages within the art. The vast array of Hummel creations, from figurines to plaques, offers something for every collector, with the sheer diversity ensuring that each piece can evoke personal memories and emotional connections.

Moreover, Hummel art transcends mere decorative appeal, aligning seamlessly with contemporary lifestyles just as it did decades ago. Far from a fleeting trend, it holds a timeless allure, growing more captivating with each addition to a collection. The process of collecting Hummel pieces often intertwines with personal milestones and memories, enhancing their sentimental value.

In recent times, the allure of Hummel art has expanded to include its potential as an investment. Amidst fluctuating markets, collectors eye Hummel pieces not only for their aesthetic and emotional appeal but also for their capacity to appreciate in value. This investment aspect, while not unique to Hummel art, adds another layer to its enduring fascination.

In summary, Hummel art's appeal is multifaceted, rooted in its capacity to evoke deep emotional responses, its accessibility and value, and its adaptability to modern tastes and lifestyles. Whether seen as a reflection of nostalgia, a spiritual journey, or a prudent investment, Hummel art continues to captivate and collect a diverse following, ensuring its place in the hearts of many and potentially in the annals of great art.

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When it comes to identifying sterling silver silverware, it's important to know a few key features that distinguish it from silver-plated or stainless steel flatware.

Here's a straightforward guide to help you determine if your silverware is indeed sterling silver.

Look for the word STERLING or 925

The simplest and most reliable way to identify sterling silver is to look for the sterling silver stamp or hallmark. In the United States, genuine sterling silver will have the word "Sterling" or the number "925" stamped somewhere on the piece, usually on the backside of the handle. The word STERLING guarantees that the piece is made of 100% solid sterling silver. This hallmark is a standard indicator of sterling silver's purity. Wondering why your dinner knives from the same set don't have the hallmark? It's because they have stainless steel blades and are therefore not 100% solid sterling silver.

As always, there are exceptions to the rule. European sterling silverware and pieces made before 1900 may not have the STERLING stamp. Instead, they may have the so-called LION PASSANT hallmark, which is a tiny symbol of a lion with one paw held up.

99 out of 100 times, though, the word STERLING will be stamped on the back of the handles of your silverware if they are indeed sterling.

ES or A1 stamping? If your pieces have ES or A1 stamped on the back that means they are electroplated silver, not sterling.

Perform the Magnet Test

Sterling silver is not magnetic. You can perform a simple test using a strong magnet. If your silverware is attracted to the magnet, it's likely made of a nickel or other magnetic metal base, which means it's not sterling silver.

Check the Weight and Sound

Sterling silver typically has a heavier feel compared to silver-plated items due to its higher density. Gently tapping your silverware can also give you a clue; sterling silver will emit a high-pitched, resonant sound, while non-sterling items sound duller.

Consider Professional Appraisal

If you're still uncertain about the composition of your silverware, consider taking it to a professional appraiser. They have the tools and expertise to conduct more sophisticated tests that can definitively determine if your silverware is sterling silver.

By using these tips, you can confidently identify whether your silverware is authentic sterling silver, adding both value and elegance to your dining experience.

Remember, taking the time to properly assess your silverware can reveal its true worth and help you make informed decisions about its care and potential resale.

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A common misconception surrounds the value of Franklin Mint silver collections. Many believe these items possess a value beyond their precious metals value, attributing to them a rarity or collectible premium that, in reality, seldom exists. This discussion aims to shed light on the intrinsic and market values of Franklin Mint silver, providing a grounded perspective on what sellers can realistically expect.

What is Franklin Mint Silver?

Franklin Mint has a storied history as a private mint known for producing collectibles, art, and memorabilia, with a significant portion of its offerings in silver. Founded in the mid-20th century, it gained fame for its intricate and themed silver sets, ranging from commemorative coins to decorative plates. However, despite the initial allure, the reality today is that the value of these pieces is rooted more in their metal content than in any collectible appeal.

The collecting world witnessed a similar phenomenon with Beanie Babies. Once a fervent hobby with items fetching thousands, the craze has significantly waned. The decline in Beanie Babies' popularity mirrors the depreciating interest and values in other collectibles, including Franklin Mint silver, emphasizing the volatile nature of such investments.

Market Dynamics

The market for Franklin Mint and similar collectibles is influenced by a variety of economic factors. The perception of value in the collectibles market is often subjective, with prices heavily dependent on current trends, demand, and the broader economic environment. For Franklin Mint silver, the market has seen a considerable downturn, with interest largely subsiding over the years. This shift reflects a broader trend away from traditional collectibles, impacting prices and demand.

Sellers should also know the facts:
1) Sterling silver is not pure silver. The 'silver price' in the newspaper is for pure silver. Sterling is 92% - so buyers must deduct for this fact. Most limited edition medals sets by Franklin Mint, Danbury Mint and others are made from sterling silver, not 999 pure silver. Of course, for sets made of 999 pure silver, no deduction is made.

2) Many people think they have more weight than they actually do - an ounce of silver is a troy ounce, which contains 31.1 grams. If you weigh a set on a bathroom or kitchen scale, the weight you get is a 'standard' ounce, or 28.5 grams. This is a 10% mistake in the weight. This is a common mistake novice sellers make.

Contrary to typical market drivers such as grade, rarity, and demand, the value of Franklin Mint silver collections is solely determined by their silver content. The notion of a thriving market for these items is, for the most part, a relic of the past. Today, the collectible aspect of Franklin Mint silver does not command a premium, rendering the market essentially inert.

Does Anybody Buy Franklin Mint Silver Today?

Despite the downturn in the collector's market, there are still avenues for selling Franklin Mint silver. Online platforms, such as 2nd Markets of Nashville, Tennessee, offer a buyer for these items, focusing on their metala value. Additionally, local pawn shops might show interest, particularly for the silver content. This highlights that while the collector's market may have diminished, the intrinsic value of the silver itself retains appeal.

It's crucial for sellers to remember that Franklin Mint silver remains valuable for its silver content.

Learn More About the Value of Your Franklin Mint Silver

iGuide’s Franklin Mint price guide is a good place to find the pricing information about your Franklin Mint silver and its current value. Learn more.

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In order to make a sight-unseen offer for your old comic books, a comic book buyer needs to know certain key information. YOU SHOULD INCLUDE THIS INFO IN YOUR INITIAL LIST! If you are new to comic book selling, building the list yourself can be a chore, but this article covers the main points and hopefully makes it a bit easier. Before you start off trying to sell your old comic books, you should make an inventory list. It will be the first thing any comic book collector will ask for.

IMPORTANT: YOU SHOULD INCLUDE THE FOLLOWING INFO IN YOUR LIST!

TITLE

Always on the front cover; example: AMAZING SPIDER-MAN)

ISSUE NUMBER

Always on the front cover or in the tiny print at bottom of first page; example: #175

ISSUE DATE

Always on the first page or inside front cover; example: June, 1947 issue)

CONDITION

Used, torn, like new, VG, NM etc., just a best guess, even if you only say USED or LIKE NEW

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The Whiting Manufacturing Co. stands as a significant chapter in the history of American silverware, with its inception in North Attleboro, Massachusetts, in 1866. This company's journey through the annals of silver manufacturing is marked by innovation, craftsmanship, and resilience, culminating in its acquisition by Gorham in 1924. Whiting Manufacturing Co.'s legacy is intricately tied to its exquisite silver patterns, which have become collectible pieces sought after by enthusiasts and connoisseurs alike.

Historical Journey

The company's initial operations in North Attleboro were abruptly halted by a devastating fire, prompting a move to New York City in 1875. This relocation marked a new beginning for Whiting Manufacturing Co., enabling it to expand and flourish in the bustling metropolis. However, the company's narrative took another turn in 1924 when it was acquired by Gorham, a dominant force in the silver industry. Gorham subsequently relocated Whiting's operations to Providence, Rhode Island, in 1926, integrating Whiting's expertise and patterns into its own vast repertoire.

Signature Patterns

Whiting Manufacturing Co. was renowned for its diverse and elegant silver patterns, each embodying the company's commitment to quality and aesthetic beauty. Some of their notable patterns include:

• Adam
• Alhambra
• Antique Lily-Engraved
• Arabesque
• Armor
• Bead
• Berry
• Colonial Engraved
• Duke of York
• Egyptian
• Heraldic
• Hyperion
• Imperial Queen
• Japanese
• King Albert
• King Edward
• Lady Baltimore
• Lily
• Lily of the Valley
• Louis XV
• Madam Jumel
• Madam Morris
• Mandarin
• Old King
• Pompadour
• Radiant
• Stratford
• Violet

Legacy and Influence

Despite its eventual absorption into Gorham, the Whiting Manufacturing Co. left a lasting impact on the silverware industry. Its patterns continue to be celebrated for their intricate designs and superior craftsmanship, serving as a testament to the company's influence and prestige. Collectors and enthusiasts of fine silverware cherish Whiting's creations, ensuring that the company's legacy endures in the world of decorative arts.

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In 1833, the American silverware industry witnessed the formation of a significant partnership that would leave a lasting mark on the craft. Wood and Hughes emerged from the collaborative efforts of Jacob Wood, Jasper Hughes and William Gale, with the former two honing their skills as apprentices under Gale's tutelage. This trio laid the groundwork for a firm that would become synonymous with quality, innovation, and artistic excellence in silver craftsmanship.

The Founding Partners

The partnership was built on a foundation of mentorship and mastery of the silversmith's art. William Gale's guidance was instrumental in shaping the skills and aesthetic sensibilities of Wood and Hughes, setting the stage for the firm's future success. This early period of collaboration and learning underscored the importance of passing down traditional techniques while fostering an environment of creativity and innovation.

Signature Patterns

Wood and Hughes distinguished themselves through the introduction of several iconic patterns, each reflecting the firm's adaptability to various stylistic periods and preferences:

• Gadroon: Characterized by its intricate edging, this pattern exemplifies the firm's mastery of detailed ornamentation.
• Louis XV: Inspired by the opulent Rococo style, this pattern captures the elegance and extravagance of the French court.
• Byzantine: Reflecting the historical and artistic influences of the Eastern Roman Empire, this pattern is noted for its complexity and richness.
• Fiddle: A testament to the firm's versatility, this simpler design caters to a more understated aesthetic, focusing on form and function.

Legacy and Influence

The legacy of Wood and Hughes is preserved in the enduring beauty and quality of their silverware. Through their innovative designs and commitment to craftsmanship, they contributed significantly to the evolution of the American silver industry. The firm's diverse range of patterns demonstrates an ability to both respect tradition and embrace change, making Wood and Hughes a pivotal player in the history of decorative arts.

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Alaska silver represents an intriguing chapter in the history of metalware, distinguished by its mystery and commercial appeal. Developed as an economical alternative to solid silver, this base metal of undisclosed composition has intrigued both consumers and historians alike. Its primary allure lies in its ability to mimic the appearance of genuine silver, offering the look and feel of luxury at a significantly reduced cost.

Composition and Purpose

While the exact composition of Alaska silver remains a trade secret, its introduction to the market was driven by the demand for affordable silverware options. Advertisements from the era highlight its design to imitate the aesthetic qualities of solid silver, enabling households to enjoy the elegance of silverware without the associated expense. However, despite its visual appeal, Alaska silver's vulnerability to damage from prolonged contact with acid foods, fats, or grease underscores the compromises inherent in substituting genuine precious metals with more cost-effective materials.

Commercial Use and Legacy

Sears Roebuck & Co., a retail giant of the time, adopted Alaska silver as a trade name for a line of silver-plated flatware. The company's 1908 catalog proudly introduced Alaska Metal as a special formula designed to replicate solid silver, emphasizing its lack of actual silver content. This marketing strategy tapped into consumer desires for affordable luxury, making silver-plated items accessible to a wider audience.

Conclusion

Alaska silver, with its blend of mystery and practicality, encapsulates a moment in consumer history where innovation met aspiration. As a material, it highlights the ongoing quest for alternatives to precious metals that do not sacrifice aesthetic value for cost-effectiveness. Although not without its limitations, Alaska silver's role in democratizing the appearance of luxury continues to offer valuable insights into the dynamics of consumer culture and the evolution of material science.

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Argentine, an innovative alloy comprising tin and antimony, emerged as a significant material in the manufacturing of cutlery and decorative items during the 19th century. Notably utilized as a base for plating with nickel silver—also known as German silver or British plate—this material was celebrated for its durability and aesthetic appeal. In China, Argentine is better known as Paktong, highlighting its global recognition and application in various cultural contexts.

Composition and Applications

The blend of tin and antimony in Argentine offers a unique combination of hardness and workability, making it an ideal substrate for nickel plating. This quality ensured that items crafted from Argentine, such as spoons and forks, not only bore the lustrous finish of silver but also benefitted from the alloy's inherent strength and resistance to wear.

Innovation in Sheffield

The city of Sheffield, renowned for its cutlery and silverware, played a pivotal role in the adoption and promotion of Argentine as a material of choice for manufacturers. W. Hutton & Sons, a prominent firm based in Sheffield, was credited by Bradbury as the pioneer in utilizing Argentine for the production of spoons and forks. Their innovation in 1833 marked a significant milestone in the industry, setting a precedent for the use of Argentine in metalware manufacturing.

Legacy and Significance

The introduction of Argentine into the world of silverware manufacturing underscored a period of technological advancement and material experimentation. Its adoption by esteemed firms like W. Hutton & Sons not only validated the alloy's qualities but also contributed to the evolution of the cutlery industry. Today, Argentine serves as a testament to the ingenuity of 19th-century craftsmen and their quest for materials that combine beauty with practicality.

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Electrotype technology represents a fascinating confluence of art and science, offering a method to replicate art objects with remarkable fidelity. Originating in the 19th century, this process has played a crucial role in both the preservation and dissemination of cultural and historical artifacts. By electroplating a wax impression, electrotyping creates exacting copies of objects, which, in its early days, was primarily utilized to reproduce antiques and artworks. Today, its application extends into the realm of printing, where it aids in the production of facsimile plates.

The Electrotyping Process

The core of electrotyping involves making a precise wax model of the original object. This model is then subjected to electroplating, where a metallic coating, typically copper, is deposited onto the wax form. The result is a metallic copy that captures even the finest details of the original piece. This method allowed for the mass production of art reproductions in the 19th century, making art more accessible to the public and serving as an invaluable tool for educational purposes.

Electrotype in the 19th Century

During its heyday, electrotype technology was revolutionary, enabling museums, educational institutions, and private collectors to acquire and study detailed reproductions of priceless and rare artifacts. It democratized access to cultural heritage, allowing a broader audience to appreciate the intricacies and beauty of works that were otherwise inaccessible.

Modern Applications

In contemporary times, electrotyping has found a niche in the printing industry. The process is employed to create facsimile plates that ensure high-quality reproductions of text and images. Though the advent of digital technology has transformed the printing landscape, electrotyping remains a valued technique for specific applications where detail and fidelity are paramount. Electrotyping stands as a testament to human ingenuity, bridging the gap between artistic endeavor and technological advancement. Its legacy underscores the importance of replication techniques in both preserving and sharing the world's artistic and cultural heritage.

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In the realm of silverware, the term "Foreign Silver" encompasses a broad spectrum of silver items originating outside of England, often marked by diverse standards of silver content. This variability presents a contrast to the well-established English sterling silver, known for its 925/1000 purity. Foreign Silver's uncertain silver content, sometimes significantly below the coin standard, underscores the importance of meticulous assessment and knowledge in the collection and trade of such items.

Variability in Silver Content

The silver content of foreign silver items can vary widely, a factor attributed to differing national standards and historical practices. This inconsistency can affect the value and desirability of silver items, making the identification of the silver content crucial for collectors and investors. In many cases, the fineness of the silver is directly stamped on the article, providing a measure of its purity and authenticity.

Standardization in Scandinavia and Germany

In contrast to the broader category of Foreign Silver, Scandinavian countries and Germany have established a standardized fineness for solid silver tableware at 830/1000. This standard is marked by the stamp "830," signifying the silver content and assuring buyers of the item's purity. This practice of standardization reflects a commitment to maintaining quality and consistency in the production of silverware, offering a level of assurance akin to that associated with English sterling.

Implications for Collectors

The diversity of standards in Foreign Silver necessitates a discerning approach from collectors and enthusiasts. Understanding the significance of purity marks and the historical context of silverware production across different regions is essential for making informed decisions. As such, Foreign Silver occupies a unique niche in the world of collectibles, offering a rich tapestry of designs influenced by varying cultural practices and standards of fineness.

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Repoussé is a venerable metalworking technique that involves shaping and ornamenting metal by hammering from the reverse side to create a raised design. Enhanced further by surface chasing, which refines the form's sharpness and detail, repoussé has been a cornerstone of metal artistry since ancient times. This technique was introduced to the United States in 1828 by Samuel Kirk, marking a significant development in American decorative arts.

The Technique of Repoussé

Repoussé derives its name from the French word repousser, meaning 'to push back'. This process starts with the careful annealing of a metal sheet to make it malleable. The artisan then uses various tools to hammer the design from the backside, gradually creating a raised pattern. Following the repoussé process, chasing (or surface detailing) is often employed on the front of the piece to refine the design and add intricate details, providing depth and sharpness to the overall work.

Historical Significance

The repoussé technique holds a prominent place in the annals of craftsmanship and art history, employed across cultures and epochs to produce items of both functional and aesthetic value. Its introduction to the United States by Samuel Kirk was a pivotal moment that contributed significantly to the richness of American metalworking traditions. Kirk's mastery of repoussé allowed for the creation of exquisite pieces that combined technical prowess with artistic expression, elevating the status of American silverware on the global stage.

Legacy and Modern Relevance

Today, repoussé continues to be celebrated for its artistic and historical significance. Its ability to produce intricate, high-relief designs makes it a favored technique among artisans and collectors alike. The legacy of repoussé, particularly its introduction and evolution in the United States, exemplifies the enduring appeal of traditional craftsmanship in the modern era. As such, repoussé remains a testament to the skill and creativity of metalworkers throughout history, from ancient artisans to Samuel Kirk and beyond.

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Vermeil, the art of gold plating over sterling silver, represents a storied chapter in the history of decorative arts. Originating in France during the mid-1700s, this technique was initially celebrated for its ability to combine the luster of gold with the affordability of silver. However, the traditional method of creating vermeil, which involved the use of mercury, led to significant health and environmental concerns. This blog post delves into the origins of vermeil, the reasons behind the ban on its production, and the modern techniques that have revitalized this cherished craft.

The Birth of Vermeil

The invention of vermeil in the 18th century France marked a significant advancement in the field of metalwork. Artisans discovered that by applying a thin layer of gold to sterling silver, they could create pieces that mirrored solid gold's visual appeal at a fraction of the cost. This innovation quickly gained popularity, bridging the gap between luxury and accessibility in the world of jewelry and decorative items.

The Ban on Mercury-Based Vermeil

Despite its initial success, the production of vermeil soon faced scrutiny. The process employed mercury amalgamation, a method where mercury was used to dissolve gold before it was applied to the silver base. This process not only posed severe risks to the craftsmen, who were exposed to toxic mercury vapors, but also to the environment. Recognizing these hazards, France took a proactive stance in the early 19th century by banning the mercury-based vermeil production, a decision that echoed the country's growing commitment to public health and safety.

The Modern Revival of Vermeil

The prohibition of mercury amalgamation could have spelled the end for vermeil. Instead, it paved the way for innovation. The modern revival of vermeil has been made possible through the adoption of the electrolytic process, a method that is both safe and efficient. This contemporary technique uses electricity to deposit a thin layer of gold onto a sterling silver item, eliminating the health and environmental risks associated with mercury use. Today's vermeil not only adheres to rigorous safety standards but also maintains the quality and beauty that first made the technique popular.

Conclusion

The history of vermeil is a testament to the resilience and adaptability of traditional crafts. From its inception in 18th century France to its modern-day revival, vermeil has undergone a significant transformation. The shift from mercury amalgamation to electrolytic gold plating has ensured the survival and flourishing of this technique, highlighting the importance of innovation in sustaining the legacy of traditional crafts. Present-day vermeil continues to enchant with its timeless beauty, serving as a bridge between the past and the future of decorative arts.

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In the realm of metalworking, the technique known as "chasing" represents a pinnacle of artistic expression and skilled craftsmanship. This traditional method of decoration, executed by hand, utilizes an array of small tools and punches, which are methodically forced into the metal through gentle tappings by a hammer. The result is a textured, dimensional surface that brings metal to life with intricate designs, ranging from floral motifs to elaborate scrolls.

The Essence of Chasing

Chasing is more than mere decoration; it is a dialogue between the artisan and the material. Each tap of the hammer and imprint of the tool is a deliberate and controlled action, contributing to a larger pattern or imagery directly on the metal's surface. This technique allows for a high degree of detail and nuance, making each chased piece uniquely expressive. The versatility of chasing is evident in its application across various metals, including silver, gold, copper, and pewter, showcasing the adaptability of this method to different material properties.

Flat Chasing: A Specialized Form

A particular variation of this art form is known as "flat chasing." In this technique, designs are impressed into a flat metal surface, creating a subtle and elegant texture. Unlike its more dimensional counterpart, flat chasing emphasizes the precision and delicacy of line work, offering a more understated aesthetic. This form is especially popular for creating backgrounds that enhance the visibility of other relief elements or for adding intricate details to otherwise plain surfaces.

Chasing vs. Repoussé: Complementary Techniques

Often mentioned in conjunction with chasing is repoussé, a technique that involves shaping metal from the reverse side to create a raised design. While both techniques manipulate the metal surface to create decorative patterns, they are distinct in their approach and effect. Chasing refines and details the front of the workpiece, adding texture and depth without significantly altering the metal's thickness. In contrast, repoussé introduces a three-dimensional relief, bringing shapes and patterns to life in a more pronounced manner. Together, these techniques can be used in tandem to achieve remarkable feats of metal artistry, offering a rich palette of textures and effects.

Preserving Tradition in Contemporary Metalwork

Despite the advent of modern technologies in metalworking, the traditional practice of chasing holds a revered place in contemporary craftsmanship. Its persistence is a testament to the enduring appeal of handmade art and the irreplaceable touch of the artisan. Chasing, with its historical roots and timeless beauty, continues to inspire metal artists and craftsmen worldwide, bridging the past and present in the continuous flow of creative expression.

In conclusion, chasing is a profound expression of artistic mastery in metalwork, offering a direct connection to the rich traditions of metal artistry. Its continued practice and appreciation underscore the value of manual skills and the beauty of handcrafted detail in an increasingly mechanized world.

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The Fight'n Rooster brand holds a unique niche amongst collectors thanks to its blend of German craftsmanship and distinctive designs. Here's a glimpse into its story:

The Rooster Crows in 1976

The Fight'n Rooster brand was born in 1976, the brainchild of Frank Busterf of Lebanon, Tennessee. Dissatisfied with American manufacturers fulfilling his special order requests, he embarked on a different path.

Destination: Solingen, Germany

Frank partnered with the renowned Olbertz factory in Solingen, Germany, known for its expertise in knifemaking. He drew inspiration from vintage celluloid patterns of the 1940s, breathing new life into them with German steel and craftsmanship.

Mark of the Roosters

Early Fight'n Rooster knives (1976-1982) displayed a simple tang stamp with two fighting roosters and "Solingen" or "Germany" markings. Later iterations saw the addition of "Frank Buster Cutlery Company" and "Frank Buster Celebrated Cutlery" alongside the roosters.

Beyond Pocketknives

While traditionally known for pocketknives like stockmans and trappers, Fight'n Rooster expanded its repertoire. Fixed-blade knives, hunting companions, and even commemorative pieces showcased the brand's versatility.

A Family Affair

Following Frank's passing in 2007, his son Stirling Buster carried the torch. Today, under Stirling's stewardship, Fight'n Rooster knives continue to be produced in Solingen, maintaining the brand's focus on quality and distinct aesthetics.

Legacy of Passion

Though not as widely recognized as some American giants, Fight'n Rooster holds a special place in the hearts of collectors. Their knives embody a unique blend of German precision and Frank's original vision, offering a distinct alternative to mainstream brands.

Collecting the Crowing

Dating Fight'n Rooster knives can be tricky due to production overlaps and tang stamp variations. Collectors rely on resources like Joe Parker's "Fight'n Rooster Knives Reference Guide" and forums like BladeForums to navigate the nuances.

Looking Ahead

Today, Fight'n Rooster remains a relatively small operation, but its dedicated following ensures its place in the knife world. Whether you're a seasoned collector or simply appreciate unique craftsmanship, a Fight'n Rooster knife holds within it a story of passion, grit, and the unwavering spirit of the Fighting Roosters themselves.

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For over 130 years, Case knives have been trusted companions for farmers, ranchers, cowboys, and everyday folks alike. But the story behind these iconic American blades goes deeper than just utility. It's a tale of family, craftsmanship, and an unwavering commitment to quality.

From Wagon to Workshop

The saga begins in 1889, when the Case brothers – William Russell, Jean, John, and Andrew – started selling handcrafted knives from their horse-drawn wagon in upstate New York. Their dedication to quality quickly built a reputation, leading to the formation of the Case Brothers Cutlery Company in 1900.

Taking Root in Bradford

In 1905, seeking expansion, the company relocated to Bradford, Pennsylvania, where it remains today. John Russell Case, son of William Russell, formed W.R. Case & Sons. Under his leadership, the company thrived, establishing its "Tested XX" trademark, signifying blades tempered twice for superior strength.

A Legacy Forged in War and Peace

Case knives played a crucial role in both World Wars, supplying sturdy pocketknives and utility blades to American soldiers. These wartime models are now prized collectibles. And beyond battlefields, Case knives became ubiquitous tools for farmers, ranchers, and anyone needing a reliable cutting companion.

More Than Just Blades

While pocket knives remain their core, Case expanded its offerings over the years. From fixed-blade hunting knives to kitchen cutlery and commemorative collectibles, the brand caters to diverse needs while maintaining its focus on quality and craftsmanship.

Carrying on the Tradition

Today, W.R. Case & Sons remains family-owned and operated, carrying on the legacy of its founders. Each knife is a testament to their commitment to quality, using time-tested techniques and premium materials. And as they forge ahead, Case knives continue to be more than just tools, they're symbols of American heritage, passed down through generations and trusted by those who value tradition and craftsmanship.

So, the next time you pull out your Case knife, remember the rich history it embodies. It's not just a blade, it's a piece of Americana, ready to tackle any task, big or small.

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In the age of digital streaming and on-demand entertainment, a surprising trend has emerged, breathing new life into a seemingly obsolete medium: VHS video collecting. This resurgence is driven by a blend of nostalgia, the thrill of hunting rare finds, and the appeal of physical media in an increasingly digital world. Collectors and enthusiasts are scouring thrift stores, online marketplaces, and auctions to find hidden gems from the era when home video revolutionized movie watching.

One of the pivotal moments highlighting the financial potential of VHS collecting occurred during a Heritage Auctions event, where a 1983 white label VHS tape of Star Wars sold for an astonishing $32,500. This sale not only shattered expectations but also set a precedent for the value of rare and sought-after VHS tapes in the collectors' market.

However, it's important to note that not every VHS tape holds significant value. For a VHS video to be considered valuable, it must meet certain criteria, the most crucial being its condition. To fetch high prices, tapes must be in their original sealed condition, like new, and unused. This pristine state ensures the item's authenticity and preserves its historical and collectible integrity, making it highly desirable to collectors seeking to add to their curated collections.

The collectibility of VHS tapes extends beyond just the content of the films themselves. Factors such as cover art, rarity, and cultural significance play critical roles in determining a tape's value. Limited releases, unique cover art variations, and tapes associated with significant cultural moments or shifts in the entertainment industry often command higher prices.

The rise of VHS collecting speaks to a broader trend of valuing physical media in a period where digital formats dominate. Collectors appreciate the tangible connection to the past, the artistry of the packaging, and the ritual of analog film viewing. Moreover, the community aspect of collecting, where enthusiasts share knowledge, trade tapes, and celebrate their finds, adds a layer of social engagement that digital platforms struggle to replicate.

In conclusion, the rise of VHS video collecting is a fascinating intersection of nostalgia, culture, and investment. The remarkable sale of a 1983 Star Wars VHS tape at Heritage Auctions underscores the potential value of these collectibles, provided they are in mint condition. As this trend continues to grow, it reaffirms the enduring appeal of physical media and the lengths to which collectors will go to preserve and celebrate the history of film and entertainment.

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One aspect of comic books that most people are not aware of is their monetary value. Beyond the vibrant artwork and compelling narratives, these paper-bound treasures can hold significant financial worth, particularly for certain vintage editions. The realm of comic book collecting is much more than a hobby; it's a passionate pursuit that taps into an active and vibrant market.

Collectors scour for rare editions, driven by the thrill of discovery and the potential for investment. This market isn't just about reliving childhood memories or celebrating fandoms; it's also about recognizing the value of comic books as collectible items. Vintage comic books, especially those in pristine condition or featuring key character debuts, can fetch impressive sums, highlighting the financial dimension of this colorful world.

Market Dynamics

The comic book market is a fascinating study in economics, characterized by the principles of supply and demand, scarcity, and market sentiment. Its dynamics are shaped by a variety of factors, from cultural trends to the physical condition of the items. This market is particularly responsive to pop culture shifts, with values fluctuating based on movie releases, character revivals, and other media influences.

Factors Influencing Value

The value of a comic book is influenced by several critical factors, including:

• Grade: The condition of the comic, with higher grades indicating better preservation and, consequently, higher value.
• Rarity: The scarcity of an issue, especially in higher grades, significantly impacts its value.
• Demand: Popular characters and storylines can increase demand and value.
• Historical Significance: Issues that mark the first appearance of characters or pivotal plot developments are often more valuable.

Risks and Rewards

The comic book market, like any investment market, is subject to risks and rewards. Its volatility can lead to significant gains for knowledgeable collectors but also to potential losses. The market's sentiment can change, influenced by broader cultural trends or the condition of specific issues, making it a challenging but potentially rewarding field for investors.

What is the most valuable comic book?

"Action Comics #1," featuring the first appearance of Superman, holds the title for the most valuable comic book. It represents not just a significant cultural milestone but also a high-water mark in comic book valuations, fetching millions at auction. However, it's essential to remember that not all comic books are as valuable as this iconic issue.

Learn More About Comic Book Prices

For enthusiasts eager to delve deeper into the world of comic book collecting and valuation, iGuide's comic book price guide is an excellent resource. It provides up-to-date pricing information for rare comic books and their current values, helping collectors make informed decisions.

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One aspect of comic books that often surprises folks is their monetary value. Yes, beyond the action-packed narratives and vibrant illustrations lies a realm where comic books are more than just reading material—they're treasures, some with price tags that can make your eyes pop!

The hobby of comic book collecting is an exciting adventure into a vibrant market, particularly for those special vintage editions. It's a world where nostalgia meets investment, where the thrill of the hunt can sometimes lead to finding a real gem. These aren't just pieces of paper bound together; they're pieces of history, of art, and for some, a seriously valuable investment.

The Ten Most Valuable Comic Books

• Action Comics #1 - The debut of Superman and arguably the birth of the superhero genre. Valued at over $3 million for copies in top condition.
• Detective Comics #27 - Introducing Batman, the dark knight of Gotham. Copies have sold for over $2 million.
• Amazing Fantasy #15 - The first appearance of Spider-Man, swinging into the hearts of fans and fetching around $1 million at auctions.
• X-Men #1 - The introduction of the X-Men, a team of mutants fighting for peace and equality. Valued at up to $500,000.
• Batman #1 - The first solo Batman comic, introducing iconic characters like Joker and Catwoman. Can be worth around $500,000.
• All-American Comics #16 - The first appearance of Green Lantern, shining a light on values up to $200,000.
• Marvel Comics #1 - The beginning of Marvel Comics, introducing characters like Human Torch and Namor. Values can reach up to $500,000.
• Tales of Suspense #39 - The debut of Iron Man, valued at around $375,000 for pristine copies.
• Captain America Comics #1 - The first appearance of Captain America, punching his way up to $343,000.
• Flash Comics #1 - Introducing Flash and Hawkman, with values sprinting to $450,000.

Market Dynamics

The comic book market is a fascinating ecosystem, driven by the forces of supply and demand, rarity, condition, and the ever-changing winds of pop culture. It's a place where a comic book's value can skyrocket overnight because of a movie announcement or sink due to oversupply. Understanding these dynamics can help collectors navigate the market more effectively, making smarter decisions about when to hold onto a piece and when it might be the perfect time to sell.

Remember, not all comic books are destined to fetch six or seven figures. The value of comic books can vary widely, with many factors influencing their worth. It's the stories of these top-valued comics that capture our imaginations, but it's the rarity, condition, and cultural significance that really pump up their prices.

Learn More About Comic Book Prices

If you're bitten by the collecting bug and want to know more about the value of your comic books, or if you're just curious about what treasures might be hidden in your attic, iGuide’s comic book price guide is the place to start. It's a treasure trove of pricing information for rare comic books and their current values, helping you learn more about this exciting and potentially lucrative hobby.

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Our story begins with a poor kid from Mississippi who turned his fascination with "old stuff" into a business while still a teenager in the 1970s. With $400 borrowed from a local coin shop owner (who knew him as a regular customer and saw something special in the young man) Jon built a successful business in antiques and collectibles. As business grew, he expanded into publishing books and price guides for fellow collectors. But Jon was never one to rest on his laurels — he had a vision for something new and unique.

An early "electronic publisher"

In the late 1990s, he registered iGuide.net as a web domain and began migrating his vast database of collectibles knowledge to the fast-growing Internet. Over time, Jon's dream of creating a "new kind of price guide" unlike any other began to come into focus. With bespoke appraisals and cutting edge data analytics, his vision for a pricing engine took shape. The iGuide team worked tirelessly to challenge the status quo and push the envelope of what accurate pricing data means. And now, after years of research and hard work, iGuide.net has emerged with a new brand of innovation and creativity in the world of pricing knowledge. While our techniques may be new, our dedication and passion for accuracy is unrivaled. Join us as we continue to push the limits of what it means to be a knowledgeable collector — the journey is just beginning.

About our founder

Jon has been involved in the antiques and collectibles industry since the 1970s. He started his business as a teenager, owning a rare stamp business called "Rarities, Inc.", and opened his first retail shop at age 18. He has been buying, selling, and appraising rare coins and collectibles for decades, even before the Internet.

Warren is an internationally recognized expert in the field of antiques and collectibles, having authored numerous price guides, including "Warren's Movie Poster Price Guide," "The Official Price Guide to Paperback Books," and "Wizard: The Guide to Comics." He served as the senior price guide editor for Wizard Magazine, Toyfare Magazine, and Inquest magazine from 1993 to 2003. Prior to that, he was the senior editor of The Overstreet Update, a price guide for collectors of rare comic books.

In addition to his books, Warren has also provided certified appraisal services for many important collections, including the Movie Memorabilia Collection of Michael Wayne, son of legendary actor John Wayne. He has worked as a consultant for Heritage Auction Galleries of Dallas, TX and others.

Warren is the founder of several companies in the collectibles industry, including 2nd Markets Corporation, Soldster, and iGuide. These platforms provide services for buying, selling, and appraising antiques, art, coins, old currency, knives, movie memorabilia, rare comic books, vintage collectibles, and memorabilia of all kinds.

Jon graduated summa cum laude from Bryan College with a degree in Business Administration: Informational Management, and magna cum laude with a degree in Computer Science. He is a member of The Project Management Institute and The American Society of Appraisers.

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One aspect of Hummel figurines most people are not aware of is the declining market values. Once a beloved hobby that captivated millions worldwide, Hummel figurine collecting has seen a significant downturn. The heyday of this unique form of art and collectible saw enthusiasts eagerly hunting for rare pieces, driving prices to impressive heights. However, as interests shift and the collector base ages, the market for Hummel figurines has experienced a notable decline, affecting their overall prices.

Market Dynamics

The market dynamics of Hummel figurine collecting are influenced by a complex interplay of economic considerations. The decline in demand, coupled with an oversupply of common pieces, has led to decreased prices. Yet, the market remains vibrant for rare and unique Hummel figurines, which continue to attract high bids at auctions and from private collectors. Understanding these dynamics is crucial for both buyers and sellers to navigate the market effectively.

Factors Influencing Value

Several factors determine the price and collectibility of Hummel figurines, including:

• Grade: The condition of the figurine plays a significant role in its value.
• Rarity: Limited edition and hard-to-find pieces command higher prices.
• Demand: Figurines that are highly sought after by collectors are more valuable.
• Provenance: A well-documented history can increase a figurine's desirability.

Risks and Rewards

Trading in Hummel figurines, like any collectible, presents both risks and rewards. While the potential for significant returns exists, particularly with rare items, market fluctuations can also lead to losses. Collectors must weigh the sentimental value of their collections against the financial investment and market trends.

Does anybody buy Hummel figurines today?

The market for Hummel figurines has contracted, partly due to the aging of primary dealers and collectors. However, there remains a niche community of enthusiasts who appreciate the artistry and history of these pieces. Finding buyers may be challenging, but not impossible, especially for well-preserved, rare models.

It's important for investors to remember that not all Hummel figurines are considered "trash"; some remain in high demand, such as those from the Century Collection. These pieces continue to be sought after by collectors and can fetch considerable sums.

Learn More About Hummel Figurine Prices

iGuide's Hummel figurine price guide is an excellent resource for finding pricing information about your Hummel figurines and their current values. Learn more.

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The United States Mint has had several facilities throughout its history, each identified by a unique mint mark. These mint marks are small letters stamped on coins to identify where they were made. Here's a list of the mint marks and the corresponding cities in the United States Mint network:

• P - Philadelphia, Pennsylvania
• D - Denver, Colorado
• S - San Francisco, California
• CC - Carson City, Nevada
• W - West Point, New York
• O - New Orleans, Louisiana
• C - Charlotte, North Carolina (Historic)
• D (Historic) - Dahlonega, Georgia

It's worth noting that the Philadelphia mint was the first mint established in the United States, and for a long time, it did not use a mint mark. Modern coins minted in Philadelphia now carry the "P" mint mark, except for the cent. The other mints were established later to accommodate the expansion of the country and the need for coinage. The Carson City, Charlotte, and Dahlonega mints are historic and no longer in operation.

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More than a century ago in the late 1800’s, the Morgan Silver Dollar helped the United States become one of the world’s great economic powers. It was beloved at home and treasured around the world for its large size and silver weight, and it has remained a collector favorite to this day.

The Morgan Silver Dollar was born out of the discovery of the Comstock Lode in Nevada, which was the greatest silver strike in American history. In 1878 the U.S. Congress passed the Bland-Allison Act, which required the United States Mint to strike new dollar coins with domestic silver, primarily from the Comstock Lode. The coin was first issued later that same year. It was especially popular in the Western states and territories, and it became a symbol of the “Wild West.”

Named after its designer, U.S. Mint engraver George T. Morgan, the Morgan Silver Dollar features a beautiful portrait of Liberty on the front and a dramatic American eagle on the back. Each coin was struck in 90% silver and is so large that it was known as a “cartwheel” in the West. It was the largest United States silver coin of its era made for circulation.

In the early 1900’s, more than half of the entire production of Morgan Silver Dollars were melted by the U.S. government for their silver content, and millions more were melted in later years to take advantage of rising silver prices. Many of those that remained were worn or damaged in circulation. As a result, only a fraction of all Morgan Silver Dollars remain today, and those in uncirculated condition are the most coveted of all.

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Before considering the sale of your valuable coin collection, it's paramount to create a detailed inventory list. This critical document is often the first thing requested by prospective buyers. Collectors and dealers rely on specific information to gauge their interest and propose a fair price. Without a detailed inventory, assessing the value and interest in your collection can be difficult or impossible. For those new to selling coins, the task may appear overwhelming. However, this guide aims to simplify the process, ensuring you cover all necessary details efficiently.

iGuide suggests utilizing a spreadsheet application, such as Google Sheets or Microsoft Excel, for inventory management. Google Sheets is particularly favored among buyers for its accessibility and is available at no cost with a Gmail account. Creating a Gmail account is straightforward and can be done by searching for "FREE GMAIL ACCOUNT" online.

Year

Identifying the year a coin was minted is generally a simple task. However, if the date isn't visible due to wear, understand that this more likely indicates damage rather than a minting error.

Mint Marks

Mint marks is an essential point for coin collectors, with certain marks potentially increasing the coin's value significantly. The mint marks in the United States are:

• P: Philadelphia Mint (also the U.S. Mint's main office, thus some coins may not feature a mint mark).
• D: Denver Mint.
• O: New Orleans Mint.
• S: San Francisco Mint.
• W: West Point Mint.
• CC: Carson City Mint (known for its rarity and high value).

For assistance in identifying mint marks, a quick internet search can be very informative, or contact iGuide.

Denomination

State the denomination of each coin in your collection, whether it be a penny, nickel, dime, quarter, half-dollar, or dollar.

Coin Type

Including the type of each coin, while not mandatory, can offer additional insight into your collection.Don't know the type? It's okay to omit it.

Condition

Do your best to evaluate and describe the condition of each coin, even if it's a broad description like "USED" or "LIKE NEW." For coin sets or commemorative issues, describe the state of the packaging and whether items like certificates of authenticity are included, noting the condition as "like-new" if applicable.

Conclusion

Following these guidelines will help you compile a proper inventory list for your coin collection, putting you in a strong position for future sales or evaluations.

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Before considering the sale of your valuable knife collection, it's paramount to create a detailed inventory list. This critical document is often the first thing requested by prospective buyers. Collectors and dealers rely on specific information to gauge their interest and propose a fair price. Without a detailed inventory, assessing the value and interest in your collection can be difficult or impossible. For those new to the world of knife collecting, the task may appear daunting. However, this guide aims to simplify the process, ensuring you cover all necessary details efficiently.

iGuide suggests utilizing a spreadsheet application, such as Google Sheets or Microsoft Excel, for inventory management. Google Sheets is particularly favored among buyers for its accessibility and is available at no cost with a Gmail account. Creating a Gmail account is straightforward and can be done by searching for "FREE GMAIL ACCOUNT" online.
(detail from a Google Sheets page)

What are the key details buyers need to know?

A good list will contain these key points at a minimum:

Brand

The brand or maker of your knife will usually be printed on the handle, often on the shield (the little metal tag on the handle) or on the blade near where the blade and the handle connect. This tiny text printed on the blade is called the TANG STAMP.

Model Number

The MODEL or PATTERN number of your knife is very important. It is usually stamped on the TANG STAMP. Write all the text, for example: 3254 SS.

Blades

How many blades does the knife have?

Year of Production

Do you know? Often the year is printed on the knife blade or on its box if you still have it. This is very helpful information, but optional.

Condition

State whether the knife is USED or LIKE NEW. If it is in the original box, mention it.

Quantity

How many do you have? The answer goes into your quantity column.

Country

What country was the knife made in? This too can often be found on one of the tang stamps, or on the box if you have it.

Special Notes

Sometimes you may have a limited edition, or a commemorative knife. There may be some text and art printed on the blade. This is important information. Include it in your Notes column.

Who buys knife collections today?

One of the top buyers of fine knife collections is 2nd Markets of Nashville, TN. Google 2ND MARKETS BBB PROFILE to learn more.

Learn More About Knife Values

iGuide’s knife price guide is a good place to find the pricing information about your knife collection and its current value. Learn more. This guide provides a starting point for creating an inventory list of your knife collection. By documenting your collection thoroughly, you're not only preparing for potential sales but also preserving the history and value of your cherished items.

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Schofield Co Inc, of Baltimore, Maryland began in 1903 as Baltimore Silversmiths Mfg. Co and was known as Heer-Schofield Co. and Frank M. Schofield co. until the late 1920's. The company purchased assets of Jenkins & Jenkins about 1915. Some pattern names: Baltimore rose-Decor, Baltimore Rose-Plain and Lorraine.

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Our mission statement is a testament to our commitment:
"To know the price of everything and to share our knowledge universally with everyone."

This guiding principle shapes everything we do, from the meticulous gathering of data to the way we present it, ensuring access to accurate and up-to-date market values is always within reach.

Our Story

iGuide's journey began with a vision to create a comprehensive repository of pricing information across a myriad of categories—antiques, collectibles, memorabilia, and beyond. We recognized early on the challenges collectors, sellers, and investors faced in finding reliable market values. In response, iGuide.net was born, a beacon for those navigating the often murky waters of market pricing. The iGuide Network is an extensive online appraisal service that specializes in the evaluation and pricing of personal property, including hundreds of categories of antiques and collectibles. From rare finds to everyday items, we appraise just about anything of value, providing a crucial resource for collectors, sellers, and investor alike.

Early History

iGuide was founded in 1984 by Jon R. Warren, a notable figure associated with Overstreet Publications and Wizard Press. Originally starting as a publisher of price guide books such as Warren's Movie Poster Price Guide, Comics Source, The Official Guide to Vintage Paperbacks, and others, iGuide Media, Inc. made its mark in the field of antiques and collectibles. This early endeavor set the stage for what would eventually become a digital powerhouse in the appraisal industry.

About Jon Warren

Our founder, Jon Warren, has been a pioneering figure in the world of collectibles and pricing guides. With an eye for detail and a passion for accuracy, Jon built the foundation for iGuide.net. Under his leadership, iGuide has grown from a fledgling site into a trusted authority on price research. Jon's commitment to integrity and transparency remains at the heart of our operations, inspiring our team to continually raise the bar. Warren's vision was clear from the beginning. As the founder of iGuide.net, Jon brought his deep expertise and passion for collectibles to the forefront, transforming the landscape of price research and appraisal. Under his leadership, iGuide evolved from publishing print guides to becoming a digital authority, ensuring Jon's legacy of accuracy and integrity continues to guide our path forward.

Appraisal Services

iGuide Appraisal Services has distinguished itself not only among collectors but also as an expert witness for the IRS and appraiser to the stars. Our expertise has been sought after for appraising the collections of notable individuals, including the extensive movie memorabilia collection of legendary actor John Wayne. Our commitment to educating collectors and estates about the value of their belongings underscores our role as a trusted advisor in the appraisal world.

The Internet

Embracing the dawn of the Internet Age in the 1990s, we recognized the transformative potential of making our database accessible online. In 1999, iGuide.net was launched as a searchable tool for pricing an array of collectibles, including movie posters, comic books, action figures, Beanie Babies, and more. This transition marked a significant milestone, extending our reach and impact globally.

Milestone

In 2022, iGuide achieved a landmark milestone, having provided over 5 million appraisals to collectors and estates worldwide. This achievement not only reflects our extensive experience and trust within the community but also our commitment to serving the needs of collectors across the globe.

Excited About the Future

As we look ahead, iGuide is excited about the possibilities that artificial intelligence (AI) and data automation offer. We are at the cusp of a new era where AI can sift through vast amounts of unstructured text to distill accurate, real-time pricing data. This technological evolution will enable us to expand our database, refine our accuracy, and offer insights with unprecedented precision. Our aim is not just to keep pace with the advancements but to be at the forefront, leveraging these technologies to empower our users with the most comprehensive and up-to-date pricing information available.

Our new servers located outside Nashville, Tennessee, USA are enabling us to:

• Expand Our Dataset: Leveraging AI to broaden our categories and items, making our database as comprehensive as possible.
• Enhance Accuracy: Utilizing data automation to lock and load real market data for real-time updates, ensuring the most current market prices.
• Empower Users: Developing tools and insights to enable informed decisions for buyers, sellers, or investors exploring the value of collectibles.

Dedication

At iGuide.net, we believe in the power of information to transform decisions, enrich knowledge, and empower individuals. As we advance, our focus remains steadfast on delivering the unparalleled accuracy and universal accessibility that our mission promises. Through innovation and dedication, we continue to serve those seeking to know the true value of their treasures and investments.

We are dedicated to our mission of demystifying the value of art, antiques, collectibles— indeed, anything of value — and sharing this knowledge universally with everyone. Through ongoing innovation and a commitment to accuracy, we will always serve as the Ground Truth for those seeking to understand the economic value of the rare, the unusual ... the awesome objects we all love.

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When one of our friends asked us about selling things on eBay my wife quipped "If you’d rather see it go away than thrown away you won't be disappointed" and I’ve been repeating that to people ever since. While it’s true that you can make money selling things on eBay it’s equally true that you can’t really predict what will sell or how much you might make on any given item. As has always been true with sales, there are intangible, unpredictable variables which can affect the outcome but here are a few things we’ve learned that we feel are important.

First, some quick questions and answers:>
Question: Does it cost money to list things on ebay? Answer: Yes.
Question: Do I have to give personal information and credit card information to ebay in order top open an account? Answer: Yes.
Question: Do I have to pay ebay even if my item does not sell? Answer: Yes.


Now on to some general info about selling on ebay.com

Your Item Title is very important
Your item title (which you come up with yourself) may well be the single most important part of any eBay listing. This is what the search engine pays the most attention to and this is what is most visible to a potential buyer who’s scanning through a row of search results. To create a good title, write down all the words that apply to the item, prioritize the words using your "best guess" as to their search-engine importance and construct your title using the most important words first. To do this properly you have to know something about the item you’re listing so "get with google" and study up on anything you wish to sell but don‘t know anything about. I’ll give you an example based on a topic I’ve recently researched:

A few years ago the Marshall Electronics Corporation created a small revolution in the home and small business recording industry by introducing the MXL 2001 large diaphragm condenser microphone which sold for under $100. The nearest thing to it at the time was about triple the price and of no better quality. Marshall has since added a number of other microphones to the MXL product line but the 2001 remains a popular seller whether new or used.

The Behringer Corporation, based in Germany, has in recent years become well known for manufacturing professional quality mixers, amplifiers and other sound system components which sell for extremely competitive prices.

So, if I wanted to sell an MXL 2001 and a small Behringer mixer as a package deal I would not write my title as


Behringer UB802 Eurorack Mixer With Marshall Microphone

In light of the background I’ve provided, can you see what’s wrong with this listing?

Don‘t get me wrong, there’s nothing wrong with Behringer, I love their equipment in fact but if you intend to sell a revolutionary microphone and an economical mixer on eBay, list the microphone first and be specific in your listing.


Here’s how I would list this item:

MXL 2001 Microphone and Behringer UB802 Eurorack Mixer

Because of the continued popularity of this particular microphone, listing it accurately and mentioning it first would probably result in the auction having more watchers so there'll be more participants in the "bidding frenzy," which normally starts a few minutes before the auction closes. With more watchers it's highly probable that the winning bid will be higher than it would have been with the first listing. My wife, who’s my co-writer, editor and proofreader asked why I explained this in such a convoluted manner; she had trouble understanding my point so I’ll try to say this again in a simpler way. Before you write the title for an item, ask yourself a simple question; "If I were looking for one of these on eBay, what would I type into the search window?" The words which answer this question are the words which should begin your title.

The Photo: This is probably the second most important part of an eBay listing and it's a close second at that. If you're not selling a brand-new item which is still in the unopened original box don't try to find a photograph on the web with an image search and do not list an item on eBay for sale or auction without a photograph, no matter what it is. Take a picture of the actual item you wish to sell and make sure it's a good photo. If you don't own a good digital camera, with macro capabilities for close up shots of small items, it's an investment you should consider.

The Description: It goes without saying that the description of your auction item must be totally honest. Make it as detailed as possible and if there’s anything you aren't sure of, be sure and put that in your description too. What you absolutely mustn't do is put negative information in your description. Here are some example sentences:

"I don't want bids from people like Kevin, everyone knows he’s a jerk."

"I'll give you positive feedback as soon as you give me positive feedback."

"I don't know if it works so I’m selling it AS IS. If you buy it and it doesn't work, don't even think of returning it."

"I’m an honest businessman so don't jerk me around, move on if you aren't serious."

Each of these examples represents a great way to shoot yourself in the foot. Yep, that's right, sellers who put sentences like these in their descriptions are chasing away potential customers by undermining their own credibility. I’ll break them down in order for you.

If you want to bad-mouth the buyer who got to you, do it somewhere else,putting personal invective in your description says to me "I'm eally stupid and I like to whine so don' buy anything from me, ok?" Maybe that seems cold to you but that's how I see it and you won‘t have to deal with me because I won‘t be bidding on any of your auctions. Moreover, a lot of other potential buyers will have the very same reaction.

The only important thing you, as a seller, can say about a customer is whether or not he paid you. Nobody cares if the buyer is a hippy-type-pinko-(um, well you know), or if he was rude to you, as long as he paid you. If he paid you give him positive feedback right away. If he paid you as soon as the auction closed then give him really good feedback with lots of exclamation points and plus signs; if he paid you four days after the auction closed give him positive feedback and a thank you. If you don't do that and are then tempted to send him a follow up letter reminding him to give you positive feedback, resist the temptation. In business there is no greater sin than insulting a customer's intelligence.

If it doesn't work, say it doesn't work; if it works, say it works; if you don't know and you’re willing to trust your customer to test it then promise a refund if it doesn't work. If you can’t bring yourself to promise a refund, don't sell it on eBay.

Every dishonest person I've ever known was ready to tell you often, and in a loud voice, that he was an honest person. If you mentioned specific instances where his conduct might have been less than honest he had a fully prepared dialog explaining how it wasn't his fault. Maybe I'm paranoid but if you feel compelled to tell me how honest you are, I feel compelled to wonder if you're telling the truth and hey, my money's as good as anybody's so don't question my intent. The simple fact is that eBay will only work if we're willing to conditionally extend some trust to one another. Don't tell a potential buyer up-front that you don't trust him and then expect him to trust you.

Reserve Pricing: All I can say about a reserve price is don't set a reserve price. Reserve prices are hidden and therefore "sneaky," meaning they have negative connotations which means buyers don't like them. If you won't take less than a hundred dollars for it, then set the minimum bid at a hundred dollars. That puts the cards on the table for everyone to see. If your expectations are unrealistic it won't sell and you'll pay a larger fee, because the listing fee is a percentage of the minimum bid and you pay the fee whether or not it sells, but that's the price of knowledge. Pay it and move on.

Shipping Charges: If you don't have a postal scale, buy one, you're going to need it. Which one you need depends on what you're trying to sell because they come in ranges. Zero to thirty-five pounds is, for example, a popular size which seemed suitable for us so that's what we bought (for about $30) and it's served us well. If you want to know more about scales, read this.

A lot of buyers go to great lengths to avoid paying extra listing fees and one common trick is to jack up the shipping charge, using it as a means of setting a minimum return on an item. The problem with this practice is simply that buyers aren't stupid; they know about what shipping costs so they can see when a seller sets it ridiculously high and they reward him by moving on without electing to watch, much less bid on, the item. I don't have any idea what works for other sellers but I select a box or bubble envelope to ship the item in, place the item in the box/envelope, throw in what I estimate is enough packing material, weigh it, add an ounce, go to the postage calculator at the USPS.com website, plug in my zip code and the zip code for Nome, Alaska (99762, which I figure is a fairly good "worst case" destination), add a dollar and that's the shipping charge I use with my auction. Why the dollar? Well, I list all my auctions with an opening bid of 99 cents and every now and then I write an ineffective title which only attracts one watcher who wisely waits until the last minute to win the item with a 99 cent bid. In that instance, unless I made a mistake in calculating the shipping charges I'll make about two dollars on the auction which somehow feels better than 99 cents. There's just something sad and futile about making less than a dollar.

Gallery Photos: When you specify a gallery photo, which costs a little more, eBay puts a thumbnail (i.e. reduced size) photo of your auction item in the search results listings. One of my friends insists that you'll make far more than enough to pay the extra fee by always opting for the gallery photo and I've decided that he's probably right. I feel like it's silly to opt for the gallery image when you're selling small, inexpensive items with well written descriptions. In my case, that would be guitar picks which I feel like I did very well on without gallery images but I can’t prove it because I didn’t try listing any of them with gallery images and I’ve already sold all I had. I've got no basis for comparison but I’m inclined to give him the benefit of the doubt.

Make the customer happy: If you sell something that you thought was working but the customer insists it isn’t working, don't quibble with him. Promise him a refund if he returns it and follow through. Don‘t just refund what he paid you, add in enough to cover the cost of return shipping. Whatever it takes, leave him happy. If you take a loss, so be it; that’s the cost of doing business. Money can’t buy a 100% positive feedback rating, you have to earn it by doing the right thing, every time, no matter that it sometimes costs you a few dollars.

Tips and Tricks:

Don‘t buy packing materials if you can help it. Empty styrofoam egg cartons, when closed, make strong, lightweight packaging material. Plastic shopping bags, which seem to be everywhere these days, can be wadded up and used for packing material.

Scrounge packing boxes where you can find them. If they happen to have a lot of printing on the outside of the box you can cut them apart with a good sharp kitchen knife (bought on-the-cheap from a flea market or garage sale) and reglue (or tape) them inside out. Supermarkets, as a general rule, have cardboard baling machines and they recycle cardboard. Convenience store workers have to break them down and wag them to the dumpster so find out what day the stock truck comes in at your local convenience store and drop by while they’re "busting freight"; they’ll be totally delighted to let you carry off a pile of boxes.

Bubble envelopes are, for some reason, expensive in most retail stores. If you know you’ll be selling a lot of small items, you can save some serious bucks by googling for bubble envelopes in bulk. Because they weigh very little, the shipping charges are normally modest so the unit cost on a case of 500 bubble envelopes can be as much as 75% less than you’d pay in local stores. If you live in a fairly sizable town where there’s more stores, and more competition, this might not be true but either way, it’s worth doing some research and if you decide you have way more than you need, what the heck, you can always sell them on eBay.

Jon Warren

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In 1927, Rolex began issuing every Rolex Oyster case a unique serial number to distinguish them from one another. This numbering system is believed to have started at 20,000. Around 1953, the numbers reached the 999,999 mark, at which time Rolex decided against adding a 7^th digit, thus continuing into the "millions"—Instead, they started the sequence over. While it was originally believed that this resequence started over at 100,000, or even 20,000, evidence suggests that it actually restarted at 10,000 or possibly lower. Around this same time, Rolex had initiated another dating system —They stamped the inside of the case back with a code consisting of a Roman numeral and two numbers. The Roman numerals were I, II, III, IV, which represented which quarter of the year the watch was produced. The numbers simply represented the two-digit year in which the watch was produced. Therefore, the code III 53 would represent the 3^rd quarter (i.e. July-September) of 1953--this code continued until around 1970. In the early 1960s, Rolex once again reached the 999,999 mark, but this time added a 7^th digit and continued until mid 1987, when the numbering reached 9,999,999. At this time, Rolex elected to start numbering with a letter prefix (e.g. R000001).

The system started with the letter "R", which was then subsequently followed by L-E-X. Thus spelling out the word "ROLEX" with the "O" being omitted, to help avert any possible confusion with the number "0". This sequence continued through November 1991, when a new numbering system was introduced utilizing the letters N, C and S, which took them through 1993. In 1994, Rolex started yet another sequence with the letters: W, T and U, then A, P, and K in subsequent years. To add to the confusion, many of these prefixes have run concurrently over the past few years, giving the appearance of a random numbering system. Therefore, only Rolex knows exactly when any particular watch was made and they aren't talking.

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Until the introduction of our 10-point system, the marketplace suffered from a lack of a standardized system for ranking of condition. Each merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." In our opinion, lack of grading consistency among merchants is a major obstacle to growth in any hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

Our 10-point scale for grading  is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.


C10 : M (Mint)
Perfect in every way, as though it came off the press just yesterday.
C9 : NM (Near Mint)
Slightly better than Very Fine but definitely not Mint. Many dealers use this grade as their highest grade.
C8 : VF (Very Fine)
Our highest grade. Sharp in every way, like new to near new. Not necessarily mint, but exceptional. Can not have any major noticeable defects. Can have tiny, minor defects. No tears, creases, or brown pages. No surface wear or scuffing. Spine should show no rubbing or wear of any kind. A small arrival date is allowable without being noted. Should be bright and clean, glossy with creamy pages. A brilliant, highly-prized state of preservation.
C7 : FVF (Fine to Very Fine)
Slightly better than Fine but definitely not Very Fine.

C6 : F (Fine)
A nice copy with perhaps several minor defects. Should have a complete and solid spine without tears or unusual wear. Defects that can be expected include: minor page browning or yellowing (severe browning is not allowed in this grade), light spine creases and minor edge tears. Defects that are not allowed in this grade are: heavy surface wear, pieces or large flakes missing, heavy spine wear, a rolled spine, insect or rodent damage. A small arrival date is allowable without being noted. Should appear clean and sharp with only a couple of minor detractions.
C5 : VGF (Very Good to Fine)


C4 : VG (Very Good)
A borderline magazine that is closer to VG than it is to G. The accrual of several described defects should move an otherwise VG item to this grade. C3 : G (Good)
A worn, creased, flaked example. Crumpled and worn corners. Tape, waterstains, brittleness of pages, pieces or chips missing, heavily rolled spine, etc., should be described but are certainly allowable in this grade, which is used to describe a low-quality example. This grade is probably the minimum grade acceptable to most collectors. C2 : FR (Fair)
Less than G. A terribly worn and dusty example with any major defect probably present. It should be noted that the item is complete, otherwise the buyer may assume that the item is not complete. The item may be described as a filler, or reading copy. Virtually unacceptable to most collectors.
C1 : P (Poor)
An incomplete, tattered, ragged, dreadful copy. The grade says it all - a bad copy. May be missing pages or parts of the cover and spine. May have a tremendous accumulation of other defects. The primary distinction between this grade and FR is that the P grade denotes an item that is not complete, while FR denotes an item that is complete.

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Herwin Records was a US record label founded and run by brothers Herbert and Edwin Schiele, the trademark name being formed from their first names. Herwin Records was based in St. Louis, Missouri, and produced records starting in 1924. Most of the material released on the label was from master discs leased from Gennett Records and Paramount Records. In 1930 Herwin was sold to the Wisconsin Chair Company, the parent of Paramount Records, which discontinued the Herwin label sometime in the 1930s.

Most Valuable Blues Artists on the Herwin Label

Lizzie Washington on Herwin 78 RPM
Blind Willie Jackson on Herwin 78 RPM
Charley Peters on Herwin 78 RPM
Katherine Baker on Herwin 78 RPM
Blind Tim Russell on Herwin 78 RPM
Jerry Lee on Herwin 78 RPM
Reverend J.M. Gates on Herwin 78 RPM
Blind Jeremiah Taylor on Herwin 78 RPM

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History of Gennett Records Gennett is best remembered for the wealth of early jazz talent recorded on the label, including sessions by Jelly Roll Morton, Bix Beiderbecke, The New Orleans Rhythm Kings, "King" Joe Oliver's band with young Louis Armstrong, Hoagy Carmichael, Duke Ellington, The Red Onion Jazz Babies,The State Street Ramblers, Zach Whyte and his Chocolate Beau Brummels, Alphonse Trent and his Orchestra and many others. Gennett also recorded early blues artists such as Thomas A. Dorsey, Sam Collins, Jaybird Coleman, and Big Boy Cleveland, and early "hillbilly" or country music performers such as Vernon Dalhart, Bradley Kincaid, Ernest Stoneman, Fiddlin' Doc Roberts, and Gene Autry. Many early religious recordings were made by Homer Rodeheaver, early shape note singers and others.

From 1925 to 1934, Gennett released recordings by hundreds of "old-time music" artists, precursors to country music, including such artists as Doc Roberts and Gene Autry. By the late 1920s, Gennett was pressing records for more than 25 labels worldwide, including budget disks for Sears, Roebuck's catalog. In 1926, Fred Gennett created Champion Records as a budget label for tunes previously released on Gennett.

The Gennett Company was hit severely by the Great Depression in 1930, and cut back on record recording and production until it was halted altogether in 1934. At this time the only product Gennett Records produced under its own name was a series of recorded sound effects for use by radio stations. In 1935 the Starr Piano Company sold some Gennett masters, and the Gennett and Champion trademarks to Decca Records. Jack Kapp of Decca was primarily interested in some jazz, blues and old time music items in the Gennett catalog which he thought would add depth to the selections offered by the newly organized Decca company. Kapp also attempted to revive the Gennett and Champion labels between 1935 and 1937 as specialists in bargain pressings of race and old-time music with but little success.

Most Valuable Blues and Jazz Artists on the Gennett Label

Josephine Beatty on Gennett 78 RPM
King Oliver on Gennett 78 RPM
Jelly Roll Morton on Gennett 78 RPM
Red Onion Jazz Babies on Gennett 78 RPM
Baby Bonnie on Gennett 78 RPM
Walter Coon on Gennett 78 RPM
Mae Glover on Gennett 78 RPM
Thomas Dorsey on Gennett 78 RPM

Top Buyer Jon Warren of 2ndMarkets.com is one of the top buyers of rare blues records. He can be reached at 1-423-320-1521 or by visiting his website (click the link above).

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Black Patti was a short-lived (less than a year in 1927) record label. The label was owned by The Chicago Record Company, which in turn was owned by promoter Mayo ‘Ink’ Williams. The label was named after 19th century African-American singer Matilda Sissieretta Joyner Jones, who was nicknamed The Black Patti after famous opera star Adelina Patti.

Mayo Williams had enjoyed a profitable career as de-facto manager of "Race Records" (recordings by African American artists intended for African American customers) for Paramount Records. He decided to go into the record business for himself. He had no equipment, only his Chicago office. The actual recording and pressing of the records was contracted out, mostly to Gennett Records.

Black Patti Records debuted with advertisements in May 1927, with some two dozen discs said to already be available. The repertory included jazz, blues, sermons, spirituals, and vaudeville skits, most (but not quite all) by African American entertainers. A total of 55 different discs were manufactured. Williams found running his own label not as lucrative and easy as he had hoped and closed up operations before the end of 1927.

Perhaps the most famous of the sides recorded for Black Patti are those by Willie Hightower's jazz band.

Top Most Valuable Blues and Jazz Artists on the Black Patti Label

Willie Hightower on Black Patti 78 RPM
Mozelle Alderson on Black Patti 78 RPM
Hattie Garland on Black Patti 78 RPM
Steamboat Joe on Black Patti 78 RPM
Sam Collins on Black Patti 78 RPM
Big Boy Woods on Black Patti 78 RPM
Kid Brown on Black Patti 78 RPM
Elizabeth Washington on Black Patti 78 RPM

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History of Black Swan Records Black Swan's parent company, Pace Phonograph Corporation, was founded in March 1921 by Harry Pace and was based in Harlem. The new production company was formed after Pace's music publishing partnership with W.C. Handy, Pace & Handy, had dissolved. (Some historians have thought W.C. Handy had a stake in Pace's new business, but Handy's own words contradict this.

Popular entertainer and pioneering black recording artist Bert Williams was an early investor in Pace Phonograph. Williams also promised to record for the company once his exclusive contract with Columbia Records ended, but he died before that could occur.

Pace Phonograph Corporation was renamed Black Swan Phonograph Company in the fall of 1922. Both the record label and production company were named after 19th century opera star Elizabeth Taylor Greenfield, who was known as the Black Swan.

Noted author, activist, and academic W.E.B. Du Bois was a stockholder and member of the Board of Directors of Black Swan. Ads for Black Swan often ran in The Crisis, the magazine of the National Association for the Advancement of Colored People, which Du Bois edited.
The production company declared bankruptcy in December 1923; and in March 1924 Paramount Records bought the Black Swan label. The Chicago Defender reported the event by noting important accomplishments of Black Swan in a short career span, including: pointed out—to the major, all white-owned, record companies—the significant market demand for black artists; prompted several major companies to begin publishing music by these performers. In addition, the Defender credited Pace with showing the majors how to target black audiences and to advertise in black newspapers. Paramount discontinued the Black Swan label a short time later.

Most Valuable Blues and Jazz Artists on the Black Swan Label Kattie Crippen on Black Swan 78 RPM
Alberta Hunter on Black Swan 78 RPM
Ethel Waters on Black Swan 78 RPM
James P. Johnson on Black Swan 78 RPM
Lucille Hegamin on Black Swan 78 RPM
Trixie Smith on Black Swan 78 RPM


Top Buyer Jon Warren of 2ndMarkets.com is one of the top buyers of rare blues records. He can be reached at 1-423-320-1521 or by visiting his website (click the link above).

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Vocalion was founded in 1916 by the Aeolian Piano Company of New York City, which introduced a retail line of phonographs at the same time. The name was derived from one of their corporate divisions, the Vocalion Organ Co. The fledgling label first issued single-sided, vertical cut disc records, soon switching to double-sided, then switching to the more common lateral cut system in 1920.

Aeolian pressed their Vocalion discs on a good quality reddish-brown shellac, which set the product apart from the usual black shellac used by other record companies. Advertisements stated that "Vocalion Red Records are best" or "Red Records last longer." However, Vocalion's shellac was really no more durable than good quality black shellac. Vocalion red surfaces are less hardy than contemporary Victor Records. Audio fidelity and pressing quality of Vocalion records are well above average for the era.

In 1925 the label was acquired by Brunswick Records. During the 1920s, Vocalion also released "race records" (that is, records recorded by, and marketed to, African Americans; their famous 1000 Series). The 15000 series continued, but after the Brunswick takeover, it seems clear that Vocalion took a back seat to the Brunswick label. In 1925-26, quite a few Brunswick titles were also issued on Vocalion, and since the Vocalion issues are much harder to find, one can speculate that they were not available for sale in as many stores as their Brunswick counterparts. By 1928-29, many of the jazz sides issued on the Vocalion 15000 series were extremely rare and highly sought after.

In April 1930, Warner Bros. bought Brunswick Records and, for a time, managed the company themselves. In December 1931, however, Warner Bros. licensed the entire Brunswick and Vocalion operation to the American Record Corporation. ARC used Brunswick as their flagship 75 cent label and Vocalion became one of their 35 cent labels (their race/blues series during this time continued to be significant). Starting in about 1935, the Vocalion label once again became a popular label, signing Billie Holiday, Mildred Bailey, Putney Dandridge, Henry 'Red' Allen and other swing artists. Also, starting in 1935, Vocalion started reissuing titles still selling on the recently discontinued OKeh label. In 1936 and 1937 Vocalion produced the only recordings of the influential blues artist Robert Johnson (as part of their ongoing field recording of blues, gospel and 'out of town' jazz groups). From 1935 through 1940, Vocalion was one of the most popular labels for small group swing, blues, and country. After the Variety label was discontinued (in late 1937), many titles were reissued on Vocalion, and the label continued to release new recordings made by Master/Variety artists through 1940.

During the 1925-1930 period, outside of the 1000 'race' series, Brunswick apparently used the Vocalion brand as a specialty label for purposes other than general sale. This is assumed due to the relative rarity of the Vocalion popular series, and the fact that some of the regular Brunswick releases were also put out for sale as Vocalions. This seems to also be a possible explanation as to why the early 1930s Vocalion are relatively rarer than other ARC records.

ARC was purchased by CBS and Vocalion became a subsidiary of Columbia Records in 1938. The Vocalion label was discontinued in 1940, and the current Vocalions were reissued on the recently revived OKeh label with the same catalog numbers. The discontinuance of Vocalion (along with Brunswick in favor of the revived Columbia) voided the lease arrangement Warners had made with ARC back in late 1931, and in a complicated move, Warners got back the two labels which they promptly sold outright to Decca, yet CBS got to keep control of the post-1931 Brunswick and Vocalion masters!

Most Valuable Blues and Jazz Artists on the Vocalion Label

Charlie Patton
Robert Johnson
Memphis Minnie
Leroy Carr
Tampa Red
Jenny Pope
Bukka White
Mississippi Sarah
Mississippi Moaner

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Obviously, the better the state of preservation any collectible enjoys, the more it is worth. Our Franklin Mint Grading Guide is intended to give collectors some guidelines to help determine the grade, or condition, of their collectible. I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.

Grading is an art, not a science. It can take years of experience to learn how to accurately rate the condition of an item. Hopefully this guide will start you on your path.
C10 = Like New
As new (pre-1980 items are seldom found in this condition). C9 : N-
Nearly New, but has very slight signs of age. No visible signs of wear or damage. C8 = E+
Almost like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of holders, noticeable only with a magnifying glass. C7 = E : Excellent
Still very shiny, near new looking, with no visible signs of wear, but a few slight blemishes may be present.
C6 = E-
Still shiny but without the luster of a the above grade, may have a few light scratches or possibly signs of tarnishing.
C5 = VG+
V+ is an average condition collectible in which scuffs and general use has dulled the finish somewhat. Wear is moderate but eye appeal is generally very good. Surface not worn but not lustrous either.
C4 = VG : Very Good
Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive. C3 = VG-
Surface scratches and general wear are obvious.
C2 = G+
Heavy scratches.
C1 = G : Good
Quite seriously worn and scratched.
G- ; F ; and P
Some experts also use these designations for collectibles in extremely poor condition. We do not place these on the 10-point scale because Franklin Mint collectibles in this condition have little or no value. In cases where the item is extremely rare, it would be worth the C1 price in our price guide.

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With the value of precious metals such as silver and gold rising, many people are wondering if now might be the best time to sell Franklin Mint silver sets. The answer is YES, but with caution.

You might sell locally, but you will not get top dollar from a local gold buyer or coin shop. You could try to sell on eBay, but that's a hassle and after paying fees and commission you will end up with less than if you had simply sold directly to an internet buyer.

That leaves you with finding an internet buyer. You should look for a Internet buyer who will pay the highest percentage of the precious metal value, obviously. But you should also look for an Internet buyer who is a member of the Better Business Bureau online reliability program. If the company is a member of their local Chamber of Commerce, that’s even better. And, of course, the company should have a valid business license in the county in which they operate. If the Internet company is not licensed, do not deal with them! You certainly want to sell for the highest possible price, but you also want to avoid being ripped off in the process.

If you look locally for where to sell you may find a coin shop or pawn shop who will offer to buy, but compare their offer with others before accepting. Local buyers pay as little as 40% of the true value when they buy your Franklin Mint sets. A top buyer will pay 75% to 85%.  The difference could be hundreds or thousands of dollars.

Look for an Internet buyer that provides fast, friendly communications and no-obligation bids. A professional buyer will reply to your emails quickly and treat you with respect. If not, go elsewhere. Any reputable buyer will have years of experience and will be happy to help you sell.

Of course, a business must make a profit to remain in business, but a solid company knows that competition is intense and they must pay a fair price in order to remain successful.

A good buyer will provide a price quote in advance, without asking you to ship first.  If a buyer cannot provide an upfront quote, go elsewhere. Do not send your items on approval unless you have thoroughly checked references. By having an upfront bid, you can decide to sell or not, based on the price offered. This is much better than sending first and“hoping” for a good price, which is the way many Internet buyers operate.

In summary, Do your homework, deal with a reputable firm, and you will ensure a successful transaction.

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For collectors, the allure of an item is often tied to its rarity, historical significance, or enduring cultural impact. Unfortunately for Reader's Digest magazine enthusiasts, the publication doesn't check many of those boxes when it comes to being a valuable collectible.

A Common Misconception

Some might assume that because Reader's Digest was once a popular and widely circulated magazine, older issues would have "collector" value today. The short answer? WRONG! No, they don’t—with the possible exception of the very first issue. Even in pristine, "like new" condition, Reader's Digest magazines have little, if any, market value.

Overproduction: The Supply Is Too High

The primary reason Reader's Digest magazines aren’t valuable is simple: they were mass-produced in high numbers over a long period of time. There’s no shortage of available copies, even in "good" condition. As a result, the supply far outweighs any collector demand, making these magazines almost worthless as collectibles. On the iGuide Demand Scale—where A+ indicates the most sought-after items—Reader's Digest magazines score a dismal D, indicating that demand is practically non-existent.

The First Issue Exception

As mentioned, the first issue of Reader's Digest holds marginally more value, but even that exception comes with a caveat. First editions or rare issues might be more valuable than later ones, but the market is limited. You might find a buyer willing to pay a bit more for the inaugural issue, but it won’t fetch the kind of prices that, say, a first-edition comic book or vintage baseball card might.

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If you have what you think may be a rare magazine, it would be wise to get a free iGuide Appraisal Report

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Charities and Second-Hand Stores Won’t Take Them

If you're hoping to offload your collection to a charity or second-hand store, you might be disappointed. Organizations like Goodwill don’t typically accept Reader's Digest magazines due to lack of demand. In many cases, even if they did accept them, the magazines would sit unsold on shelves. The market for reselling them simply isn’t there.

A Collectible of the Past

Ultimately, while Reader's Digest had its moment of cultural relevance, that hasn't translated into lasting collectible value. The oversaturation of copies and the lack of significant demand all contribute to the magazine’s low standing in the collectible world. For most collectors, Reader's Digest is little more than a curiosity of a bygone era—an item whose marketability has long since faded away.

Summary

If you’re sitting on a stack of old Reader's Digest magazines hoping for a financial windfall, it’s safe to say that their value is negligible. Aside from the slim possibility of owning a rare or first edition, these magazines are better suited for recycling than for any serious collector's shelf.

The National Geographic Society in Washington, D.C. has published and circulated National Geographic Magazine every month since January 1896 (except for the years 1897 and 1917 when the magazine was published every other month). Nine issues were published between 1888 and 1891, before the magazine went monthly in 1896. Between 1891 and 1895, 27 so-called "brochures" were produced, making a total of 36  early publications. In those early years, the magazine covers were a red brick color. Altogether, there have been 6 different color designs up to the present.

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While African-American media have a much longer history and such newspapers as the Chicago Defender and The Abolitionist have had significant effects on American social history, the advent of Ebony in 1945 and Jet in 1951 brought African-American magazines to a mass audience. An interesting part of these magazines that seems to slip by many social historians, but not past collectors, are the ads that pioneered in their pages. For almost a century, the image of the African-American in magazine ads was typified by Cream of Wheat or Aunt Jemima. The success of Ebony and Jet in terms of circulation brought home to the advertising industry the neglected market of an emerging African-American middle class. For the first time, African-Americans were featured sipping a popular soft drink, dressed in the latest fashions or driving a car.

Both Ebony and Jet played a significant role in the civil rights movement. Collectible issues focus on both the historical aspect of their civil rights artciles and the socially significant effect of their advertisements.

The first issues of these magazines have the most monetary value, fetching as much as $20-$30 each to the right collector. The older issues are more valuable than the more modern ones, obviously. And, as in every thing, condition of the magazine is vital. Examples in extremely fine or near mint condition are collectible, while worn and tattered copies have little or no value.

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Eros Magazine volume 1 number 1 hit the stands in early 1962, and the U.S. government, apparently, was not ready for it. Accompanying the magazine was a newletter and a book. Eros is so tame by modern standards that it is hard to believe that less than 50 years ago the publisher was jailed for the act of publishing it. It was a high quality, hardcover magazine, with some serious discussion as well as a few nicely done photographs, including, in issue #3, the last studio portrait of Marilyn Monroe.

Eros lasted only four issues, despite its overwhelming success with the public. Ralph Ginzburg and other members of the Eros team were hounded through the courts, all the way to the top. In 1966, the Supreme Court upheld Ginzburg's conviction on  obscenity charges as well as his five-year prison sentence. Despite its short life, Eros was the beginning of a new type of thought about sex in the U.S. Barney Rossett and Grove Press had begun to reprint the Olympia Press titles of Henry Miller and Pauline Reage, Hugh Hefner's Playboy was hitting new heights and the film I am Curious (Yellow) was driving the last nail into the coffin of the Hayes Office. The government was playing the role of the old lady, trying to sweep back the sea. Unfortunately for Ginzburg, he was the broom.

Eros is collected both as a significant piece of art and literature as well as a cornerstone of collections of banned and censored material.  A complete set of four issues in extremely fine condition will sell for around $100.

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The term is applied to the wartime five-cent piece (1942-1945) composted of 56% copper, 35% silver and 9% manganese. Because nickel imparts great strength and corrosion resistance to steel, and because the United States must import most of its nickel, it was decided to reserve the stockpile of that metal normally employed in the production of five-cent pieces for the use of the war industry. To indicate the change of alloy, the mint mark was made larger and placed above the dome of the Monticello, and for the first time the nations's coinage history, the letter "P" was used to designate domestic coins struck at the Philadelphia Mint.

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The design for the Jefferson nickel originated from a completely open competition for a $1000 prize. The winning design was submitted by Felix Schlag, a rather obscure sculptor at the time. His initials "FS" were added below the bust beginning in 1966.

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Remember the rules: Rule #1. If it ain't stamped STERLING or 925, it ain't STERLING

Rule #2. Silverware sets will have partial sterling pieces. If the forks are stamped STERLING, the other pieces such as dinner knives in the same set are STERLING HANDLES, even if they are not marked. You pay for 15 grams of sterling for dinner knives, even if they weigh 30 grams, because they are mostly stainless steel blades.

Rule #3. MOST IMPORTANT RULE: if you are not CERTAIN, DON'T BUY IT!

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The realm of collectibles is as vast as it is varied, encompassing items that range from the mundane to the extraordinary. Among the myriad players in this field, the Franklin Mint holds a distinct place, renowned for its wide array of collectibles that have captivated enthusiasts for decades. This article delves into the intricacies of collecting Franklin Mint items, examining the factors that influence their value and offering insights into the appraisal process.

The Franklin Mint: A Brief Overview

Founded in the mid-20th century, the Franklin Mint quickly rose to prominence as a purveyor of collectibles, ranging from coins and medals to dolls, die-cast cars, and jewelry. Its approach to marketing and creating limited edition items made it a household name among collectors. Despite facing financial difficulties and undergoing a bankruptcy reorganization in the early 2000s, the Franklin Mint has continued to operate, adapting to the changing landscape of collectibles.

The Value of Franklin Mint Collectibles

The valuation of Franklin Mint collectibles is a complex process, influenced by various factors including rarity, demand, condition, and the materials used in production. Collectibles made from precious metals, such as sterling silver or gold, often retain or increase in value over time. This appreciation is largely due to the intrinsic value of the materials themselves. On the other hand, items produced in more common materials without the allure of precious metals tend to depreciate, often selling for a fraction of their original issue price.

Precious Metal Items: Collections crafted from gold or silver represent the pinnacle of Franklin Mint collectibles in terms of investment. The value of these items usually don't match their original purchase price, but there are exceptions to this rule.

Non-Precious Metal Items: Collectibles made from non-precious materials, such as porcelain, resin, or common metals, are less likely to hold their value. The market for these items is driven more by sentimental value or the interests of niche collectors.

Market Dynamics and Collectibility

The collectibles market is dynamic, with trends and tastes evolving over time. Franklin Mint's broad range of offerings means that certain categories may experience fluctuations in popularity and, consequently, value. For example, limited edition plates or dolls that were highly sought after during their release might not command the same attention today.

Assessing the Condition and Authenticity

Condition plays a crucial role in the valuation of collectibles. Items in mint condition, with original packaging and certificates of authenticity, are more likely to attract higher prices. Collectors should be vigilant about preserving the condition of their items and obtaining documentation that verifies their authenticity.

Navigating the Secondary Market

The secondary market for Franklin Mint collectibles is vibrant, encompassing auction houses, online marketplaces, and private sales. Understanding this market is crucial for both buyers looking to acquire pieces and sellers hoping to find buyers for their collectibles. Prices can vary widely based on the venue and the manner in which items are sold.

In conclusion, the world of Franklin Mint collectibles is one of richness and diversity. While some items have seen their value appreciate, particularly those made from precious metals, others have not fared as well. The key to successful collecting lies in understanding the market, recognizing the factors that influence value, and making informed choices. Whether you're a seasoned collector or new to the hobby, the journey of collecting Franklin Mint items is one filled with discovery and potential rewards.

Learning More about the Value of Your Collection with iGuide's Appraisal Reports

For collectors seeking to appraise their Franklin Mint collectibles, iGuide's Appraisal Reports offer a valuable resource. These reports provide up-to-date market values based on real data, offering insights into current trends and valuations. Whether you're considering selling your collection or simply wish to understand its worth, an appraisal report can provide the information you need to make informed decisions.

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Gold aluminum represents a unique chapter in the annals of American flatware manufacturing, particularly through its association with the Holmes & Edwards Silver Company of Bridgeport, Connecticut. This solid alloy, notable for its distinctive appearance and utility, underlines the innovative spirit of the era's metallurgists and craftsmen.

Development and Characteristics

The Holmes & Edwards Silver Company, in its quest for diversity and innovation in flatware design, utilized gold aluminum to create pieces that stood out for their aesthetic appeal and durability. Gold aluminum, as employed by the company, was marked with the WALDO HE trademark, a nod to the Waldo Foundry's contribution to the alloy's development. This hallmark not only guaranteed the quality of the material but also traced the lineage of its production.

The Rialto Pattern

Exclusivity in design was embodied in the Rialto pattern, the sole flatware design crafted from gold aluminum by Holmes & Edwards. The choice to produce the Rialto pattern in this unique material highlights the company's commitment to offering distinctive and luxurious options to consumers. Notably, the Rialto pattern was also available in silverplate, providing customers with aesthetic flexibility while maintaining the design's elegance.

Legacy and Collectibility

The use of gold aluminum by Holmes & Edwards in the mid-20th century reflects a period of experimentation and boldness in flatware production. Today, pieces from the Rialto pattern in gold aluminum are cherished by collectors not only for their rarity but also for their historical significance. They serve as a testament to the innovative approaches to material use and design that characterized American flatware manufacturing in the past century.

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Sheffield Plate, a significant innovation in the world of metallurgy and decorative arts, was developed in the mid-18th century by Thomas Boulsover of Sheffield, England. This process marked a turning point in the production of silverware, offering a cost-effective alternative to solid silver items. The technique involves fusing a thin sheet of silver to one or both sides of a thick sheet of copper, combining the aesthetic appeal of silver with the durability and strength of copper. This post delves into the origins, process, and legacy of true Sheffield Plate.

The Invention and Process

The invention of Sheffield Plate in 1743 by Boulsover was somewhat accidental, yet it quickly became a sought-after method for producing silverware. The process entailed applying intense heat to bond a sheet of silver to copper. Following the fusion, the composite metal was rolled to the desired thickness, ready for fabrication into various items. This innovative method allowed for the production of silverware that was indistinguishable from solid silver to the untrained eye, yet significantly more affordable.

Distinction from Electroplate

Sheffield Plate is often referred to as "old Sheffield Plate" to differentiate it from electroplated silver, a later invention that also sought to replicate the appearance of solid silver. While both methods offer alternatives to solid silver, Sheffield Plate is notable for its method of physical fusion, as opposed to the chemical deposition used in electroplating. This distinction is crucial for collectors and enthusiasts, as it speaks to the historical and material authenticity of Sheffield Plate items.

Legacy and Significance

The legacy of Sheffield Plate extends beyond its innovative manufacturing process; it represents a pivotal moment in the democratization of luxury items. By making silverware more accessible, Sheffield Plate played a role in the broader cultural shifts towards increased accessibility to luxury goods. Today, Sheffield Plate pieces are cherished by collectors not only for their beauty but also for their historical significance, embodying the ingenuity and craftsmanship of 18th-century England. As such, Sheffield Plate remains a celebrated chapter in the history of decorative arts, symbolizing both technological advancement and social change.

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Holloware represents a fascinating category within the world of metalwork, encompassing a wide range of utilitarian and decorative items. This concise exploration delves into the essence of holloware, focusing on its definition, varieties, and particularly, the composition and use of pewter in holloware crafting.

Defining Holloware

Holloware broadly refers to articles crafted in the shape of hollow vessels. This term encapsulates a diverse array of items including, but not limited to, mugs, ewers, teapots, coffeepots, bowls, and pitchers. The category extends to encompass trays, waiters, and various plates, highlighting its versatility and utility in daily life and special occasions alike. The defining characteristic of holloware lies in its functional design, often balancing the practical with the aesthetically pleasing.

The Composition and Craft of Holloware Pewter

Pewter, an alloy primarily composed of tin, has been favored for centuries for its malleability and lustrous finish. Holloware pewter, with a traditional blend of eighty percent tin and twenty percent lead, has been a material of choice for creating teapots, tankards, coffee pots, and liquid measures. This specific alloy allows for the creation of durable, yet intricate pieces, showcasing the craftsman's skill in molding and detailing.

Modern Considerations and Legacy

Today, the concern for health and safety has led to a decline in the use of lead in pewter alloys, with modern pewter typically being lead-free. This shift underscores a broader trend towards safer materials without compromising the quality and beauty of holloware items. The legacy of holloware pewter, with its rich history and craftsmanship, continues to be celebrated in collections and use, bridging past and present through each meticulously crafted piece.

In sum, holloware encompasses a significant facet of decorative arts, embodying both function and form. Whether in the form of traditional pewter or modern adaptations, it remains a testament to the enduring appeal of crafted metalwork.

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There are several ways to sell your stamp collection. You can sell them online through various marketplaces, an online store, or your own website. You can also sell them offline at a stamp auction through a Private Treaty Sale, through a stamp magazine, or even at stamp shows.

Here are some places where you can sell your stamps:
Apfelbaum: Apfelbaum has been helping philatelists expand their stamp collection since 1910. It’s possible to ship your valuable stamps with free shipping directly to the merchant and receive an instant cash offer. In-person appraisals are also available for high-value portfolios. An Apfelbaum representative will travel to your location to make an evaluation. For example, the service can help you prepare for auctions or estate planning. You can start the process by providing your name, email and phone number. A representative will help you decide if mailing off your collection or a local appraisal is better. You will receive a prepaid UPS shipping label when your stamps are ready for shipment.

eBay: Consider eBay to sell a collection that may consist of many common issues or might be too small to sell through a specialized stamp-selling service. You may also be able to earn more through this platform as you are connecting with philatelists directly and can pay fewer fees. You can also sell rare stamps and make money on eBay. The most valuable single stamps sell from $6 to $10,000. The eBayfees are 13.25% for the first $7,500 in transactions and 2.35% on amounts above $7,500.

Etsy: You can successfully sell postage stamps on Etsy that are excellent matches for craft supplies or wedding invitations. There are many listings for vintage stamps that are in mint condition and are hard to find. Some sellers organize their collection by theme such as by color (blue, red, green) or theme (Christmas, historical figures, wildlife). While you most likely won’t be selling to a traditional stamp collector, you might be able to make more money on Etsy if you have an elegant collection. That’s because the new owner will be proud to display in their home decor.

American Philatelic Society: You can sell philatelic material worldwide with the APS StampStore, a hassle-free online platform that does the work for you. Follow three simple steps to submit your items, batch and ship them to the APS, and watch your sales.

West Coast Stamp Company: In order to avoid being duped by a stamp collector, consider selling to a certified stamp dealer. A stamp dealer who is registered with the American Philatelic Society will likely be more trustworthy. They must adhere to best business practices in order to hold their membership. You can also sell your collection to a stamp auction house.

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Filmmakers have advertised their films by every means conceivable since the first producer decided to splice his footage together, load it onto a projector, set up a screen and some chairs, and sell tickets. Film trailers, handbills, heralds, radio and TV spots, sneak previews and the revered publicity stunts of the great showmen of the past have all played a role in getting the attention of the public when a film needed selling. But for film fans all over the world, one area of film advertising remains specially connected to the heart of filmmaking: the movie poster.

Posters go back to the beginning of movie exhibition a century ago. The evolution of advertising using posters was inevitable; in the previous century almost anything you could buy had been advertised on posters. Posters were colorful and they were ubiquitous. They were cheap to produce and they really grabbed one's attention. So it was natural that filmmakers would turn to posters as a means of arousing curiosity. The modern one sheet posters of today, offset printed on translucent "lightbox" paper, fulfill exactly the same function as did the stone lithographs which announced exhibitions of cinema by Lumiere and Edison. By the exploitation and juxtaposition of image, text, and color they attract the public's attention and invite people to reach for their wallets at the boxoffice.

But aside from this primary function, film posters have another quality. They are at once mementos, memorabilia if you will, of the experience of attending a film. In this they are artifacts of our culture. The poster that you see at the cineplex for a film like Jurassic Park or Howard's End could have the same nostalgic appeal in fifty years that a poster for The Wizard of Oz or It Happened One Night has for us today. It's hard to say for sure. The possibility that it might is part of the charm and allure of collecting.

The ability to see something special in a poster is the hallmark of a talented collector. A collector may have great posters and yet have a lackluster collection. Collections with verve are amassed by collectors with vision. This is true with all collectibles, and it is equally true with film posters. Happily, this is what makes collecting fun. Not everyone can own an original 1933 King Kong one sheet. Not everyone has the money, but even if they did they still couldn't because only a few are known to exist. But anyone interested in movie posters can have a wonderful collection. That is to say, a collection filled with wonders.

Poster Sizes

Movie posters were made in certain specific sizes, sometimes in multiple styles (different posters in the same size), to be used in different situations. The most common size, the one sheet poster, measuring 27 inches wide by 41 inches high, is today triumphant over the other sizes which are, for the most part, no longer manufactured. The one sheet poster is what one sees when attending a theater today.

But in the past, as recently as the 1970s and 1980s, posters were made in several configurations. Classically, from the smallest to the largest, posters were produced in the following sizes:

Publicity Stills

Usually 8 inches by 10 inches, stills are glossy black and white or sometimes color photographs produced on the set of a film by the film's still photographer. They are not, strictly speaking, a poster, although at movie houses they might be displayed in groups like lobby cards. They are not, usually, strict frames from a film enlarged onto a photograph although in some rare cases they may be. They are tableau or scenes from the film set up and photographed in such a way as to look as if they are lifted from the film. In the old days the film's still photographers used 4x5 cameras that would create razor sharp stills for better newspaper reproduction. Sometimes producers would lithograph (print) color still sets in 8x10 format for use at the theater location for display. These are called still sets, and they are sometimes numbered like lobby card sets. But the garden variety black and white still is the copper penny of movie posterdom. Normally in the bottom border are printed title, production and copyright information. There were billions of these produced worldwide. Sometimes stills were produced in 11 by 14 inch formats - oversized stills. (The most regal type of still are the glamourous stills produced by smart photographers like George Hurrell which are generally elegant photographs of the stars. These are quite valuable and are not to be confused with normal production stills. They are often embossed with the photographer's imprimatur.) Generally you find them in shops where you can look through the inventories in a self-serve situation. Or you may see them at poster and movie conventions around the world.

Lobby Cards

These are 11 inch by 14 inch posters printed on card stock. They are generally printed in sets of eight different cards, but not always. Each set will consist of one (usually) title card and several scene cards. The scene cards are so called because a black and white still, a scene from the movie, is generally hand tinted and reproduced in color on the card. The card is embellished with other art, text and design and each scene card will have a same or perhaps similar design with a different still used.

The title card is like a small poster with the title and credits of the film setting it apart from the other cards. In later years, generally the late sixties and after, true color photography was used in the creation of scene cards. Lobby card collecting is one of the most varied and interesting areas in the hobby because of the endless variety of cards and the varying quality of the images used. Generally the more pertinent, memorable and central the image on the scene card is, the more valued the card is. The term dead card refers to a card that lacks the more interesting or compelling aspects of the film - either stars or subjects missing from the scene portrayed. For example, a scene card from an obscure Bela Lugosi film in which Lugosi, the chief element of interest, is not portrayed, or a card from a Marx Brothers film without any of the brothers pictured. Individual scene cards from many films have a number printed in or near the border area. Some films have no title card in the set. Sometimes there may be only four cards in a set or sometimes more than eight cards in the set. Most lobby card sets have been broken up over years of collecting, so finding a complete set is increasingly difficult. Complete sets often came in paper bags with the name and studio information printed on the bag. The presence of the bag with the set is very unusual today. Very occasionally, two different lobby sets may exist for the same film.

Jumbo lobby cards, measuring 14" by 17", are another type of lobby card. They can be vertically or horizontally oriented. Jumbo lobby cards were produced from the silent era through the early 1940s. They are scarcer than standard lobby cards.

Window Cards

The window card is a poster which is 14 inches by 22 inches. It is one of the easiest sizes to handle and economical to frame because an oversized piece of glass is not required in the framing process. It, too, is printed on a card stock. Window cards were designed chiefly for off-premises advertising. Thus, they were often seen in the window of the barber shop, the butcher shop, the dime store, ect. - advertising a film that was playing at a local theater. A blank area was left at the top of the poster; in this space the exhibitors could print the theater locale and playdates. Of course, many window cards survive with these imprintations. Some collectors prefer to find a copy of a window card with nothing printed on it, but other people, myself included, find that playdate printings can add an individual character to a poster. Some window cards have had this area trimmed from the poster. Trimming a poster devalues a poster and is always a bad idea; but finding a trimmed window card on a rare title is OK. Given the choice between a trimmed window card and a complete one, whether printed or not, the untrimmed care will have a wider collector's appeal because it is complete. The mini window card (8 inches by 14 inches) is a smaller incarnation of the window card. These were not made for every film, and while they can be quite desirable, they are relatively scarce. Likewise, the jumbo window card (22 inches wide by 28 inches high) is a larger version of the window card.

Insert

Sometimes called insert cards, they are printed on a heavier card stock. This poster has a vertical format, 36 inches high by 14 inches wide. This poster, because of its vertical format will fit, when framed, in an area where other posters won't fit. And inserts can be very beautiful. Inserts can utilize painting in their design, but some of the most affecting designs are photographic. Inserts which have never been folded may be referred to as flat or rolled. These rolled posters preferred to one that has been folded. But an insert that has been folded should not be turned down if the design is good and other areas of condition are satisfactory. A trip to the restorer can brighten any poster and folds can be minimized.

Half Sheet

Half sheet posters. Also printed on card stock, the half sheet is sometimes called a display. It is more often called a 22 by 28 referring to its dimensions - 22 inches high by 28 inches wide. These dimensions give the poster one of its greatest elements of appeal: a convenient size with a horizontal orientation that is easy on the eyes in a smaller room. Like the insert, both painted art and photographic designs are found. Framing is usually reasonable because again, no oversized piece of glass is required. And, once again, rolled or flat posters and folded ones are also found.

One sheet posters. The most popular poster size is arguably the one sheet. One sheets are 41 inches high by 27 inches wide. They are printed on paper stocks which can vary widely in quality from beautiful enamel stocks to the cheapest newspulp. One sheets can utilize art or photographic elements. One sheets are printed now by offset photolithography, a process by which original art which is used to make the poster is photographed and a printing plate is made from the film. But in the first half of this century, older posters may have been printed by lithographic techniques utilizing stone or zinc plates. These posters are referred to as stone lithographs and this printing technique, now largely confined to fine art editions, was once used commercially to produce all types of posters. Stone lithography stopped altogether in the early 1950s, as photo offset printing, being cheaper and faster, dominated. But stone lithographic one sheets (as well as three and six and even twenty four sheets) have become the rosetta stones of many collections. Ask a collector or dealer to show you the difference between these two kinds of printing methods and you will understand why collectors ooh and aah over stone lithos. The one sheet is, for the most part, the smallest poster which can be a stone lithograph. This, as much as anything else, has accounted for its popularity. But it also must be said this has been historically the poster which, through the decades, has been used by the exhibitors more than any other poster. It is virtually the only size used today by all exhibitors in all parts of the country. It's importance in recent times in the minds of collectors has been shaped by it's preeminence as the favored size for inclusion in auctions. Great posters are not defined by their dimensions alone but rather by their design overall. There are wonderful designs in every size.

30 x 40 and 40 x 60 inch posters. These posters are printed on card stock, generally, and are somewhat scarcer to find than the smaller posters. I have seen them folded, but usually they were stored flat or rolled. Because they are bulky, and because they were not used for every film, fewer of them are seen. Both sizes are oriented verticaly, so that the longer dimension is the height of the poster. Sometimes multiple styles may exist in these sizes. Most of these posters that I have seen have been offset photolithography, but I have also seen silkscreened examples and they can be very interesting. Like all larger posters, framing is more expensive because of the oversized glass or plexiglass that is required, more running feet of frame, etc. Homemade frames begin to look very cost effective for larger posters.

Three Sheet. The three sheet poster is printed on paper stock and is three times larger, in square inches, than a one sheet. Its dimensions are 41 inches wide by 81 inches high. So, like an insert poster, it has a long, vertical orientation. It may be printed by offset photolithography or by stone lithography. Three sheets are generally scarcer than smaller posters on the same title. Because it is large, preparation of the poster for display is more expensive than for a smaller poster. But if you have the space to display one, or even it you are simply in love with larger posters, three sheets are wonderful. They may simply show a larger image of the same art as is found on one or more of the smaller posters on a title, or they may offer an image that is different altogether from any other poster. The most successful three sheets are ones which are designed to best utilize the vertical scheme.

Six sheet. The six sheet poster is six times larger, in square inches, than a one sheet and twice as large as a three sheet. Normally a six sheet measures 81 inches wide by 81 inches high: the only movie poster that is a perfect square. I have been six sheets that were slightly larger and slightly smaller than these dimensions but these are unusual. By any definition this poster is BIG. Three and six sheets were usually used in the big, downtown movie palaces, and, to me, they are especially evocative of the golden area of movie exhibition. The six sheet is scarcer in general, than, say a three sheet on the same title. This is so because fewer sixes than threes, and threes than ones etc., were manufactured to begin with. And because larger posters were often dismissed as "too big" by collectors in the early years, they were often discarded or treated casually, further reducing their numbers. Six sheets may be offset photolithography or they may be stone lithos; they are printed on paper stocks. They are even more expensive to prepare for display than a three sheet. When they are good, however they can be very impressive indeed. Obviously, they can be very impressive in a larger room.

Twenty four sheet. The twenty four sheet was used as an outdoor billboard. They are sometimes called poster panels. Twenty four sheets can vary in size, but most of the ones I have encountered are about 20 feet wide by 9 feet high. These posters are scarce with few exceptions. They are normally the scarcest poster on any title; on many titles no twenty four sheets are known to exist. This can be true for any size poster on a particular title. No one can say why, for some titles, no known posters exist in a given size, or, indeed, at all. But it is known that twenty four sheets were intended to be used in the initial, first-run release of a film. A billboard space had to be rented from an advertising display company. Usually the budget for this existed only in the first-run of a movie. Once a film had moved to the neighborhood theatres, twenty four sheets were seldom called for. Twenty four sheets were the only posters that were routinely destroyed when they were used. Most posters were used by the exhibitors and then returned to the exchanges from which they had been leased. A twenty four sheet was purchased by the exhibitor, pasted up, displayed, and pasted over with another billboard as soon as the advertising contract expired. When a film was out of first run distribution and the personnel at the film poster exchanges felt certain billboards would not be called for again, the surplus copies were discarded. They were bulky and took up valuable space. So relatively few survived. This is what has been explained to me by people who worked in this business over the years. Who collects these behemoth posters? Completist collectors who are looking for every poster on a particular film, dealers who are interested in selling to completist collectors, and the occasional collector who sees a magnificent twenty four sheet and has to have it. There have been some memorable examples of twenty four sheets which have commanded big prices at auction and through private sales. When they are good, they are spectacular.

Pressbooks. Pressbooks are not posters. They are called pressbooks for short, but they are called Exhibitor's Campaign Manuals. They were produced by the studios and distributed to the exhibitors to help them market the film in their area. The pressbook contained articles, targeted at the local newspapers, with information and publicity about the film and its stars. These were often regurgitated by local writers or simply lifted intact and published. The pressbook contained ad mats, ideas for marketing schemes, product tie-ins, and, most importantly for contemporary poster collectors, examples of the posters and other campaign items intended for the exhibitors. Pressbooks are themselves collected today. They are most valued when they are completely intact and nothing has been cut from them. The pressbook will usually show every poster produced for a film; of course there are exceptions to this. The pressbook will show special items and special size posters at times.

Special sizes. Occasionally, special posters were produced in various sizes, such as silk or paper banners, or subway posters. Other special posters include door panels and free standing poster displays called lobby standees. No one knows all of what was made for each film because different items were made for distribution to different localities.

Roadshow Posters Roadshow (or limited engagement) films often had posters which were printed and distributed outside of the normal National Screen Service channels. 1952 to 1967 was the heyday of reserved seat engagements of such popular films as This Is Cinerama, Around The World In Eighty Days, Oklahoma!, Ben Hur, Spartacus, Cleopatra, My Fair Lady, and The Sound Of Music, to name but just a few. These special roadshow posters are becoming increasingly collected and are sometimes considered the best posters on these titles.

Foreign Posters

Movie posters were manufactured and distributed in England, France, Belgium, Italy, Germany, Denmark, Sweden, Spain, Austria, Poland, Russia, Argentina, Mexico, Japan, China, India, Australia, and other countries. Each country produced posters for both original films from these countries and films imported from other countries. If you consider this for a moment, you begin to get an idea of the permutations of posters for any given film: a Belgian poster for an Italian film, a French poster for an American film, an Australian poster for an American film, an American poster for a British film, and so on. And each country produced its own particular poster sizes. To complicate matters further, there are original and reissue posters in foreign posters just as in U.S. posters, often without identifying marks to indicate whether the poster is original or reissue.

Obviously, developing a working knowledge of foreign posters is one of the difficult challenges of poster collecting. Yet, more American collectors are discovering that foreign posters can be wonderful. More and more foreign posters are being offered at auction and by dealers. Some dealers in the U.S. have specialized in foreign posters. Certainly these dealers are knowledgeable and their expertise is valuable. And there are a host of dealers overseas who sell to clients in the U.S. The movie poster hobby is strong overseas as well, especially in England and Europe, where there are numerous poster auctions.

Certainly the French, Italian, and Belgian posters represent the mainstay of foreign posters that we see in the U.S. Since the collapse of the Eastern Bloc, posters from Poland, quite remarkable in many ways, have made their way into the U.S. Several years ago a huge influx of posters from Argentina were discovered, and many have found their way into the U.S. market. British posters, especially rare from the pre-War years, are gradually finding their way into the U.S.

For more information about foreign posters, try to find the books by Stanisla Chocko and Jean-Louis Capitaine.

One thing worth noting about foreign posters is the interest that foreign poster collectors have in the artists that designed the posters. This contrasts with posters in the U.S., where posters were usually designed by unknown studio workers whose work has gone largely uncredited. The poster artist is often ignored in the U.S., with the exception of posters designed by famous U.S. illustrators such as Rockwell, Vargas, Bass, Hirschfeld, Frazetta, and others. Not so in Europe, where a long tradition of posterization since the time of Toulouse-Lautrec and others have created an awareness of the artists that created the posters. This is a fascinating and worthwhile apsect of foreign poster collecting. Names like Mascii, Roger Soubie, Lenica, Peron, Ballester, and many others are associated with great poster design. Some collectors will collect posters simply for the artist’s work, without an interest in the film whatsoever.

Finally, remember that foreign posters will have titles that are not in English. So Captain Blood becomes Capitaine Blood in France as Les Enfants du Paradis becomes Children Of Paradise in the U.S. Yet, somehow Casablanca is known universally as Casablanca.

Condition

Questions of condition are basic to movie poster collecting. People describe condition differently. I'm not going to try to define these labels like "very fine", "good", "near mint" etc. The fact is: What is very fine to one person may be only very good to another. A poster described casually as being in good condition may be very fine to you. The best way to assure that the poster is in the condition you require is to see it. The second best way to deal with someone who has a reputation for being fair. A fair person knows that condition is a factor. Ask the person to describe a poster to you in detail. Is there any paper loss? Are there any tears or fold separations? Are there stains or watermarks? Are there any marks or writing or imprintations on the poster? Is it brittle? This is the way to assure getting a poster in a condition that you can live with NOT mincing words about very fine, excellent, very good, near mint, fair, poor etc. If you order a poster mail order you should be able to return it if the condition doesn't satisfy you. Period. If the seller says he won't tolerate a return, you have no one but yourself to blame if you don't like the condition of a poster when you get it mail order. Many fears about condition can be avoided altogether by simply dealing with someone who understands your requirements and offers you full money back satisfaction.

Restoration

An entire article could be written about poster restoration. Restoration is the attempt to upgrade and improve the appearance of a poster through paper conservancy techniques. A good paper conservator is a skilled worker, an artisan. He attempts to extend the life of a poster by washing and removing acids and pollutants from the paper, strengthening and improving the appearance of the paper through special mounting techniques, and, if needed, cosmetizing defects in a poster by overpainting areas which may be missing.

Restoration can improve the looks of most posters, but there are limits to what can be achieved. If a poster has a hole in it, it has a hole in it. You can cosmetize that defect, but no true restoration here is possible. But if a poster has border tears, separations, or holes where the paper has been bent back, so that, in effect, there is a semicircular tear, a restoration is possible. There are some great posters of which the only known copy or copies are restorations. Thus, there is a legitimate time and place for restoration. But, restoration is costly and so restoring a poster must be cost effective to be considered. A word of warning: not everyone who says he does restoration is necessarily good at it. You get what you pay for, and fees for restoration can run from the bargain basement to very, very expensive. Never entrust a valuable poster to anyone for restoration unless you have made an effort to find out whether the restorer knows what they are doing. Undoing a bad restoration is triply expensive and sometimes impossible. Get some knowledge yourself and get a good recommendation. Here again, knowing a reliable dealer can help.

Notes on scarcity

Movie posters were never intended for distribution to the general public. They were intended to go to the exhibitors where the general public would see them and be moved to see the films they advertised. That's all. Their desirability as collector's items has ever been enhanced by this one simple fact: they were not printed and sold to the public at large. Unlike many other areas of paper collectibles which were originally intended for mass consumption, movie posters were not. Whatever the printrun for any poster on a given film may have been, it is certain that the printrun was small compared with what they might have been had they been destined for the public at large.

Exactly how many one sheets? How many three sheets, etc? Impossible to say, with absolute accuracy. This would have varied with the film and its anticipated distribution. In general, there were fewer of the larger posters printed than smaller ones. (This gives birth to the theory that a three sheet should be worth so many times the value of a one sheet, and a six sheet twice the value of a three sheet, etc. This is a theory to which I do not personally subscribe - certainly not in every case. You may take this into account, but I think we must look more to the merits of a given poster in a given size to determine it's desirability. Not merely it's size and not it's scarcity. Factors such as these will contribute to driving the desirability and value (and thus the price) of a poster, but not determine them.) Printruns for every size poster were, indeed, limited. A specified number of posters in each size were ordered to be printed for the exchanges when a film was readied for its initial release. Rarely were posters reprinted unless a film was re-issued.

Originals, re-issues, reproductions, fakes

A poster is said to be an original poster for a film when it is known to have been printed and distributed concurrent with the first release of the film. A poster will often have a National Screen Service service number in the right (usually) bottom border area of the poster. Such a number might read, for example, 57-128. This configuration of numbers means that the poster was made for distribution in the year 1957 and that in that year said poster was for the 128th film that NSS had serviced for the studios. A poster which has a number configured like this may reasonably be construed to be an original poster from a film released in the year 1957, although rarely you will find films copyrighted in the year previous or following the year on the poster screen service number. Keep in mind that these numbers were not invented for the convenience of poster collectors but to assist in the day to day operations of what was a working business. So this numbering system may be regarded as generally correct, but not absolutely correct. Some posters may have no date at all printed on them. If you are concerned about the originality of a poster and there is no date, remember a pressbook for the film will probably show the poster, if you can find one. Or ask for the advice of a dealer or a trusted collector.

Films which were thought to have residual life in them at the box office were sometimes re-released by the studios years after their first release. Certain films were re-released or re-issued several times. Posters for films which were re-released were printed and they are referred to as re-issue posters. These re-issue posters are real movie posters in every sense, but they are simply made for the re-release, not original release of a film. They were usually marked with a "R" in the lower border area near the National Screen Service service number. For example, a re-issue poster for West Wide Story, re-released in 1968 will have R68 on the poster. These posters may have used the same designs as the original posters or entirely new ones, but the “R” designation indicates that the poster was intended for a film that was being re-released. That is why such posters will sometimes have copy to the effect that the film may be enjoyed again and again, or will, in some way clue the public that the film is not a new one. This was essentially a truth in advertising technique; after all, films were as ubiquitous as TV programs and the established producers did not want to be seen as passing off old films as new ones to an unsuspecting public.

A re-issue poster is not to be confused with a reproduction poster. A reproduction poster is merely a reproduction of a real poster, usually an original. Some movie posters have been reproduced by poster manufacturers for mass marketing. A poster producer merely takes a photograph of an old poster and reproduces it on poster stock. Several reproductions of posters from the thirties were done in the big nostalgia crazes of the sixties and seventies. These reproduction posters are not now all that common, and they usually are of films like The Wizard of Oz or Casablanca, where there is a mass market appeal. Reproduction posters rarely adhere to the standard movie poster sizes and their offsize nature and the presence of the name of the poster printer, such as Portal Publications, etc., will be easy clues that the poster is a reproduction. Of the tens of thousands of films made in the twentieth century, only small few have ever had their posters reproduced for mass marketing. There have been and are a few companies that have printed high grade photographic reproductions of lobby cards and posters, but these concerns advertise their products as such, and collectors will have little trouble in mistaking these posters for the real thing. Very occasionally printers may have been given access to the original plates for a poster but his is rare.

Forgeries and counterfeits are not unknown, but the incidents of this are, in my opinion, uncommon enough not to present a significant worry. Where there is money there can also be chicanery. Beware of what is too good to be true. If you have doubts about an item, you should seek the advice of a good dealer or a trusted collector. They should be able to tell you if a poster is original, re-issue, a reproduction or a phony.

A very short history lesson

Original movie posters have interested collectors for many years. These collectors were usually men (but now we are seeing a healthy interest from women, too) who were big movie fans. Many had worked in the exhibition business, as ad men, theater owners, projectionists, distributors. They had a nostalgia for this material and a knowledge of where these posters could be found: in the old National Screen Service branches and the independently run poster exchanges which existed around the country. They formed the nexus of poster collecting. Some acquired posters in bulk and rewarehoused them. Others simply approached the exchanges and asked if they might buy this or that. They began to trade with each other. Soon they were getting together at shows and confabs, trading in both posters and actual films. The early conventions happened in the later sixties, but by the seventies, film and posters conventions or shows, were common in the big cities. Stores specializing in selling movie posters, books and memorabilia began to spring up across the country. Collector ‘zines, like The Big Reel and Film Collector's World sprang up, and it was through publications like these that collectors began to know each other, correspond, and trade. The moment that the first movie poster was sold for a profit, the movie poster dealer was born. The mail-order dealer became the chief outlet for much of the trading that was done for many years. Some of the dealers that were there in the beginning are still in business. In the late 1980s, major auctions of film posters began. When the major auctioneers like Christie's and Sotheby's have made time in their schedules for film poster auctions, it indicates a wider acceptance of these posters as legitimate collectibles.

The Poster Market: Buying

Posters may be bought from other collectors, from dealers and from auctions. Information about where to buy posters can be found in any of the publications which cater to collectors. I have listed several of these in the section on selling.

Buying from dealers and collectors is usually pretty straightforward. He has something for sale. You want it. You ask about condition, you ask for a description. You ask about the price. Is it negotiable? Maybe yes, maybe no. What about a return policy? What about postage charges? Is postage refundable? What are the terms of payment? Dealers may have credit card options like Mastercard, Visa or American Express. A collector is more likely to want cash upfront, but may not have to worry about sales taxes and the like. A dealer operating in the same state usually will. Most collectors are good guys, honest and true. But sending $500 or $5,000 through the mail to someone you never met is daunting. Know who you are dealing with. A dealer who advertises regularly and who has been in business is going to be easier to appraise in this way. A dealer may publish his own catalog; this is very time consuming and expensive for him and increasingly rare. Many dealers now have computerized databases from which you can inquire by phone.

Buying from an auction house or on eBay is known as "bidding". An auction house gets an auction together and publishes a catalog of what will be auctioned. The catalog will publish low and high estimates for each poster - a range of prices in which the poster is expected to sell. Most posters will have a reserve. This is the figure that the auction house and the poster's consignor determined is the lowest price that the auction house will actually sell the poster. Reserves are not published. If the reserve is not met, the poster will not sell. Sometimes the auction house may be approached after an auction has concluded about a poster or lot, that has passed or gone unsold. The auction house may then approach their consignor as to whether the consignor wishes to sell the item at the reserve or some other price. A sale may result from this or not.

Any poster that is purchased in an auction is subject to a buyer's commission. These commissions range from 10% to 15% of the hammer price. That is, if a poster hammers for $1,000 and there is a 15% buyer's premium, then the actual amount that will be paid to the auction house if $1,150, plus any additional fees such as taxes and shipping. Shipping charges from auction houses can be steep.

The above are some of the objective concerns of buying. But there are subjective concerns as well. One man's trash is another man's treasure. This is another way of expressing that the concept of value, in poster collecting, is a relative one, and issues of worth are hard to define in terms of strict money. Beauty is in the eye of the beholder. Cavest emptor.

About Prices

A poster for Frankenstein auctioned for $180,000 plus a 10% buyer’s premium. It's an impressive figure, but what exactly does it mean? Does it mean that all such Frankenstein posters may be expected to fetch this amount in an auction or a private sale? Is there a solid market for this poster at this price? Will this poster be worth $500,000 in fifteen years? We don't know the answers to any of these questions, but we do know that what is demonstrated here is that someone was willing to part with almost two hundred thousand presumably hard earned dollars for this poster. Was it worth it? It was worth it to that person. That subjective factor in determining value must never be overlooked; after all, the objective record of prices realized for any given poster is merely the sum of all these subjective value judgments: worth it to whom and when? There are many private sales of many posters. These never become part of the records of prices realized because such sales are by nature confidential, but they nevertheless affect the market.

So how do you know what to pay for a poster? I think you not only keep your eyes and ears open to determine what you might be asked to pay but also I think that you have to ask yourself the same question that the buyer who purchased Frankenstein for $198,000 had to ask himself at some point: what is it worth to me? If you balance these two considerations, you can make a reasonable judgment about how much to pay. You may find a raving bargain in a flea market. More power to you if you beat the dealers to a great poster. Or you may be offered a poster you dearly want by someone you feel may be asking 200% more than you might expect it to be. But do you really know the track record on this poster. And what about your time? Do you have the time and money involved to track a similar copy down? These are subjective considerations that are involved in every deal.

These are some things you can weigh in the bargain:
1. Condition.
2. Have you ever been offered this poster before? Have you seen it for sale at what price or have you never seen it for sale at any price?
3. Is it good looking or evocative of the film or personality.

The Poster Market: Selling

You may buy for your own collection or you may buy for investment. Investing and collecting are two different activities. Don't confuse one with the other. Success in one area does not imply success in the other. A collector may be tangentially successful as an investor through a series of happy circumstances. But a collector is really concerned with acquiring items in his area of interest because he admires them. If he gets a good deal in doing so, he has made, in effect, a good investment, providing, at some point, there is an opportunity to sell. Many collectors would never sell what they have acquired. They enjoy their collections. An investor is looking from the beginning for the opportunity to divest; a collector is not. An investor in movie posters is just like an investor in the stock market, only with more risk generally. It is beyond the scope of this article, which must necessarily be focused on collecting, to address speculating in movie posters. It has been done, and done successfully. People have also lost money. If you speculate in posters to finance your collections, you must take the risk involved.

Collectors may wish to sell posters, however, without regard to making a return, specifically, on the investment.

Posters may be sold by advertising them directly in any of the various publications that cater to this activity, such as Movie Collector's World, or any other publication that I may have inadvertinently omitted. Websites such as I Collect Movie Posters.com or ebay.com are another good venue. In this activity the seller owes the buyer all the courtesies that he has expected as a buyer: reasonably prompt delivery, a right of return, etc.

Posters may be consigned to an auction, if the auction house wishes to accept them. This is somewhat more risky because the seller has less control over what the poster will actually sell for. A reserve will be set. That is the lowest price that the auctioneer will actually hammer the poster sold. If the poster does not receive a bid at least at the amount of the reserve, the poster will pass. In that case, the seller must usually pay the auction house something, usually 5% of the reserve or some minimum amount, for the service the auction house has provided in offering the poster during their auction. Of course, the upside of this is that the poster may be sold for more than expected. Read the contracts provided to consignors by the auction house. A commission must be paid by the seller to the auction house. This is called the seller's commission and it varies. Some auction houses have charged consignor's other charges as well. Payment from the auction house comes after the auction on lots for which the auction house has itself been paid. Posters have occasionally been known to hammer for high prices at auction and never actually sell. That's tough luck for the consignor.

Posters may be consigned to a dealer. The dealer, of course, wants to make some money from this, as he should. Details of a consignment must be worked out between the seller and the dealer. Use a reputable dealer; find out for yourself that the dealer is reputable. Sign a contract if you feel it's necessary, but at least lay out the terms of the consignment so that both the dealer and the consignor understand them explicitly. Working with a good dealer can be a very good way to sell a poster that you have without having to deal with the day-to-day inquiries of potential buyers, expenses of advertising etc. The poster may or may not sell right away, but you should have a firm idea what you will get if it does sell. Or if the price is somewhat negotiable you have better control over the deal than an auction consignment. The key to a successful dealer consignment is working with a dealer you respect and who respects you.

Posters may be sold outright to a dealer. This is often faster, but remember the dealer is in business to make money. He has an agenda in this activity as well as you do. He may already have the poster you have to sell - even multiple copies. So he may not be interested in investing in another. Or he may want a certain amount of time before paying. Selling outright to a dealer generally brings in less money than consigning, but there are times when it is desirable. Perhaps you know of something else you want to acquire which is time-sensitive and you need money. Again the dealer you choose is the most important thing here. Courtesy between the dealer and seller should be a two way street.

In Closing

These are some of the basics of collecting movie posters. Check out this website. Go to a convention. Attend an auction. Get on the phone with some dealers and chat. Call up another collector who likes what you do. Don't take anyone's advice as the gospel, but listen to the experiences of others with an open mind. Treat others in the hobby as you would want to be treated and expect the same.

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Star Wars material is among the most difficult to authenticate in the movie poster hobby. Everyone seems to have an opinion. I'll maintain this page as a guide (by no means comprehensive) to Star Wars poster authentication.

1977 Stars Wars One Sheet Style A

I've owned quite a few of the style A one-sheets over the years — ones that came directly from theaters, so I know they were authentic.

You may not be aware of it, but there are authorized reprints of this poster.

Much weight has been given to the dimensions of the posters, the distances of the blue border from the inner image, and the exact width of each of the four borders. I no longer can agree that any of this is set in stone. I've seen two copies of the poster, in my hands; from two different theaters, and in both cases the posters were not disturbed from their release in 1977. I personally removed them from the theaters, so there was no opportunity for anyone to slip me a fake. In both cases, the owners had no interest in their posters, which had been sitting for years, and I have no doubt whatsoever that both copies were authentic. Yet the left and right borders varied by 1/16 of an inch on both, and the top and bottom border measurements did not match either. I've stopped paying attention to the 1/16 of an inch differences. I am told that the measurement differences of 1/8 or higher are significant.

At the moment, I have a Star Wars A that I just picked up in a theater in Kentucky, in the midst of thousands of posters and again, I know for a fact that it's an original (the gentleman had not disturbed it for years). It can be argued that the white border of the LEFT of this poster is exactly one inch on the top, and may be closer to 1 1/16 inch on bottom and exactly the reverse is true of the RIGHT border. I know this was not the case with the other two originals I had. Keep in mind there was a first printing, and then many other original year printings done in different NSS locations in the country. Not every Star Wars poster definitively came off the same machine, the same day. If there were other printings that year, in other locations, it is very likely that the borders would be off from one another, in this small way. So, bottom line: I've learned from many discussions with others who own the style A, and my own ownership at various times of guaranteed authentic copies that one cannot necessarily rely on the borders within 1/16 of an inch. Most of the fakes I've seen that DON'T have the 77/21-O or 21-1 indication on the bottom have borders off by more than 1/16.

There are lots of forgeries of the style A's and C's. If you see rolled ones for less than $175 you are most likely wasting your money on a fake. Most experts say if it's rolled don't buy it. Collectors report forgeries of Star Wars style A and C with 77/21 and 77/21-0 as well as 77/21-1. Some people say that only the ones with a NSS of 77/21-0 are fake. Not True! I'll tell you this, I have bought several SW style A’s, and I have yet to get a real rolled one. I have bought folded examples, which are good. I personally won't buy them anymore unless I can get them from a theater.

1977 Star Wars Original Mylar One Sheet First Advance First version.

This poster was the first THEATER poster produced for Star Wars. The image does not do it justice. The letters and border are Mylar, in other words they appear as a mirror image (hence very difficult to photograph). These posters were shipped flat to theaters in wooden boxes. The flat shipping was done because if these posters are rolled tighter than about 4" diameter they will tend to separate or "delaminate". In other words, the Mylar will separate from the paper backing. Sadly this has been the fate of most of these posters. The Star Wars logo is not the standardized logo that was later adopted.

Star Wars First Advance Second version

The First advance second version is on card stock.

Star Wars Advance Style B

Watch out for is the SW Teaser "B". If it is priced "cheap" it is probably fake. I have bought 5 rolled ones in the last couple of months and they were all forgeries. What I do know is that the most common forgery of the "B" teaser is that it is missing the union label (it is a small oval). It should be in the bottom border. All of the ones I have seen are fake. I have not seen a real one. I've also been told that some of the letters are not as sharp as they should be.

The B Teaser fakes look pretty bad and are fairly easy to spot because the lettering is so soft looking and the color is off.

Star Wars Style A Poster

This was the poster that accompanied Star Wars on its first release. The art is by Tom Jung. This art was only used on the theater posters (which were also used for advertising merchandise). Many people will say "but I had that on a T-shirt." Artwork used on other products was similar but created by the Hildebrandt brothers (of comic book fame).

About the "A" style: The fake I have with the 77/21-0 is a heavier and glossier paper than the real folded one. The artwork is also almost a full 1/4" smaller. The paper is obvious when you put them side-by-side. Also, the real one is a little darker brown in the bottom left corner of the art. I have seen it written that there were print runs with both the 77/21-0 and 77/21 without the "Star Wars" written under the number but the fake I have does not have it. The union logo on the fake is much larger then the real one. It is 1/4" across on the fake and just a bit over 1/8" on the real. The rolled one I have, I now think, is real. It's almost a perfect match with the folded one. It is definitely a different print run however since it does not say "Star Wars" under the 77/21.

The hairline: a definite sign that many fakes have is a dust line just below Luke's belt where a hair got on the negative. If your poster has this hairline it is a fake.

It can get discouraging. I recently had one "expert" tell me that the only fakes of the "A" have the 77/21-0 or 77/21-1. The next day I got an email from a poster consultant who said that there are fakes of the poster with the 77/21. They also said that they have NEVER seen a real rolled "A".

Here is how I (CURRENTLY) would describe an original Star Wars Style A poster: The art from outer border to outer border is 24 15/16" - 25 inches. - One white border on the left is exactly 1 inch. The white border on right is exactly 1 inch, or only 1/16" inch larger or smaller than 1 inch. Very slight indent for the word COPYRIGHT on the very bottom of poster (about 1/8 inch). The sign for copyright (c with circle) below the image but above the credits is, if you measure to the dead CENTER of the circle, 1/2 inch from the outside blue border, 3/8 inch from the inside of blue border, and 1/4 inch from BROWN edge of art. The Graphic arts international logo and Litho in USA are closer to the bottom edge of the poster than the lower blue border. In other words, they aren't exactly in the center of the lower white border. The GAI logo lies a bit above the litho in USA words. The 77/21 is flush with the outer blue border. It can have two types of type used. I know this because of the one I got out of a Canadian theater. It can have the elongated numeric font used by NSS, which measures 1/4 inch high, or it can have the slightly shorter, thicker font. The words Star Wars appear below the 77/21. Again, I know for a fact that the originals do have Star Wars written under the 77/21 (or at least all that I've ever seen). And again, I don't know what to say about rolled ones. I have yet to see an authentic rolled Style A, though they may exist.

The style A's were printed by National Screen Service. Up until the early 80's, they handled the printing and distribution of movie posters for all the major studios. They tended to get a little funny with the codes that were printed in the corners of the posters. Every time they went back and printed the A's, they would change the code. It was probably an inventory thing.

About seven years ago, a company (whose name now escapes me) reprinted thousands of Star Wars A's, C's and B teasers. The A's are extremely difficult to spot and dealers have been selling them as original ever since they showed up. The reprinted ones have the designation "77/21-0" at the bottom. That doesn't mean that all of the posters with the other designation are fakes, there are at least four different printing codes on the original A's, but the rolled ones with the "-0" are all suspect now.

Star Wars Style C Poster

The C's are not quite as difficult to spot, but they still look pretty good and I'm sure a lot of people have been ripped off. The only good way to know if it has been reprinted is to look at the dot pattern of the color separation with a 30-power magnifying lens. If most of the dots are perfectly round, then it is an original. If most of the dots look broken or moon shaped, then it has been "re-separated" from an original printing and is a fake.

Star Wars Style D Poster

This poster was issued in 1978 after Star Wars had been in the theaters for a while. The art is by Drew Struzan and Charles White III.
The SW style "D" fan club reprints have a dot matrix serial number on them. The rolled one I have has the union label going into the credit portion of the poster somewhat.

Star Wars Birthday Poster

This poster was issued in 1978 to those theaters that had played Star Wars for 1 year continuously. Probably fewer than 500 of these posters were ever printed. It is now one of the most sought-after Star Wars posters.

Revenge Of The Jedi

Be careful with the Revenge posters. I will no longer buy this poster with the release date since most being sold today are forgeries. The forgeries are folded in many cases. The same poster without the date has no known forgeries. On the Revenge, the fakes I have seen have blurry 20th Century Fox logos. The one I have now actually has the blue color of the logo in the bottom right corner.

On the ROTJ Style A: I was told that the top horizontal light bar coming off of the saber has color in it. It does in all of mine. The copy I'm told is a white line. I am also told that on the same forgery there is a curved hairline, almost as if a piece of dust got on the negative — you can easily see about 2 centimeters to the right of the moon in the bottom left of the art. I did notice that one of my rolled ones was darker in the area to the left side of the saber. This was the one I suspected might be fake.

I get about two or three offers a month to buy REVENGE of the Jedi One-sheets. Those are the worst. I have a standard email reply to those, I just can't afford the mistake. Beware on the Revenge with the date. There are many forgeries of this poster out there. In particular look for a hairline of red above the yellow line.

QUICK RULES OF THUMB

1. Star Wars Style "A" - Copyright at left bottom is flush with artwork on the fakes. Should be indented slightly (a little less then 1/8th"). Also, look for a hairline on Luke’s belt. If you see a hairline, it is a fake.
2. Star Wars Style "A" - Artwork is slightly smaller on fake.
3. Star Wars Style "C" - Hard to tell. The faces of the characters are yellowish on the fakes rather than orange-brown.
4. Star Wars Style "D" - The fake has a dot matrix serial number on the bottom border.
5. Star Wars Advance Style "B" - Smearing around some of the edges of the letters on the fake. Also, the fake is missing the union label left of center on the bottom is missing.
6. Revenge of the Jedi Advance (The one with the opening date) Blurred 20th Century Fox Logo on fake also you can see the fold lines from the original the fake was copied from. Look for a hairline of red between the yellow stripe and black background. I have also heard that there are no known rolled copies of this poster.

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The Franklin Mint is a private corporation based in Exton, Pennsylvania which markets collectibles of its own designs. It was founded by Joseph Segel. The company started by marketing privately-minted gold and silver commemorative rounds and medallions, but quickly branched out into other collectibles. In the 1960s the price of silver rose, causing all silver coins to be removed from circulation. The Nevada casinos used silver dollars in their slot machines, which were soon worth more than a dollar. The Franklin Mint was one of the earliest and largest minters of replacement slot machine tokens.

It minted in its own production facility numerous sets of coins-of-the-realm, theme-based medals and ingots, selling them on the subscription plan, with buyers getting a monthly shipment and invoice. Franklin Mint struck issues in all the different precious and semi-precious metals. American history and art masterpiece themes were predominant, with space and important persons and other topics also quite popular. Sets were often limited by the number of subscribers by a cut-off date, or a fixed mintage, resulting in "limited editions."

Prices were fairly reasonable, compared to the cost of silver, and often tens of thousands of sets were sold. Custom wood cases, fancy packaging and certificates appealed to collectors, and the market boomed. However, silver prices climbed, making the cost of larger items high, and replacement bronze and pewter issues did not appeal to collectors as much.

From 1973 to 2000, the Franklin Mint had a division called the Franklin Library, which produced hundreds of editions of classic works of literature in fine bindings.

In 1983, and to much success, The Franklin Mint entered the die-cast car market with the 1935 Mercedes Benz 500K Roadster. In the following years, Franklin Mint produced numerous designs including the Rolls-Royce Silver Ghost, one of Franklin Mint's better-selling models.

Collector knives, figurines, plates, Monopoly sets, chess sets and board games, plaques, coins, medals, and other collectibles have been issued over the years by The Franklin Mint. The Franklin Mint was heavily reliant upon direct mail and media print ads for sales. Advertisements for Franklin Mint collectibles—including the Civil War Commemorative Chess Set among thousands of other items—were once ubiquitous in popular magazines.

Currently The Franklin Mint has divested itself of minting capacity, and has downsized, and is now mostly a producer/marketer of die-cast models.

On October 17, 2006, The Franklin Mint announced it was sold by Roll International Corp to a number of private investors including M. Moshe Malamud and Steven Sisskind, chairman and chief executive respectively from The Morgan Mint, and David Salzman, a Hollywood producer. The sale closed on August 31, 2006 and no price was announced. The new ownership plans to return Franklin Mint to its former market-leading status and offer the full lineup of collectibles including coins and medallics. Many of the Franklin Mint's most recent Resnick era products are pop-culture icon themed, for example porcelain plates featuring images of John Wayne among many others.

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Over the past 50 years, Joseph M. ("Joe") Segel has founded more than 20 different companies in businesses as diverse as publishing, minting, photography, aviation, software, hospitality, television broadcasting and behavioral modification. As a result of this prolific entrepreneurship, Segel has received numerous awards for creating new businesses and jobs, and has been referred to by several journalists as "the quintessential entrepreneur." Most recently, he was honored with the Lifetime Achievement Award of the Electronic Retailing Association and was awarded an honorary Doctor of Humane Letters degree by Drexel University. He is the only person who has been elected to both The Direct Marketing Hall of Fame and The Specialty Advertising Hall of Fame. He has also served as chairman of the Philadelphia Presidents Organization.

Segel entered the undergraduate program of the University of Pennsylvania’s Wharton School at the age of 16. He received a Bachelor of Science degree in Economics in 1951 and went on to become the youngest member of the faculty of the Wharton School at the age of 20, teaching Marketing 101 and 102 while running his first significant business, The Advertising Specialty Institute. That business, which evolved into National Business Services, Inc., was acquired by the Cohn Family Trust in 1961 and it recently celebrated its 50th anniversary.

In 1962, Segel started Jordan-Edwards Company to market a pocket appointment and expense account record-keeping system he had designed. That led to his being called upon to testify as an expert on expense account record keeping before a Congressional committee, the first of several appearances before Congress. That company was acquired by Day-Timers, which replaced it with its own system.

In 1964, at the age of 33, Segel took note of two concurrent events – the passing of General Douglas MacArthur and people lining up at banks to buy the last U.S. silver dollars. That sparked an idea. He quickly started The National Commemorative Society, which introduced a monthly series of limited edition, sterling silver commemorative coin-like medals honoring events and heroes in American history, starting with a medal commemorating General Douglas MacArthur. The program was an instant hit. Not satisfied with the quality of the coin-medals produced by a subcontractor, he recruited Gilroy Roberts, who was then Chief Engraver of the U.S. Mint, to join him in starting General Numismatics Corporation ("GNC") to mint superior-quality coins and medals. In 1965, shortly after going public, GNC changed its name to The Franklin Mint.

The Franklin Mint soon became listed on the New York Stock Exchange and rapidly developed into the world’s pre-eminent producer of high-quality collectible items, as well as the only private mint commissioned by foreign countries to produce coin of the realm. Segel retired as chairman of Franklin Mint Corporation in 1973. The company was subsequently acquired by Warner Communications (predecessor to TimeWarner), which later sold the company to a private group of investors. The Franklin Mint today produces a wide variety of collectible products. Coins and medals are no longer a significant part of its output.

In 1970, Segel and his wife acquired a small hotel on Mont Pelerin in Switzerland and renamed it Le Mirador. Over the next 27 years, while still living in the USA, Segel expanded the hotel and spa into one of Europe’s finest 5-star resorts, eventually becoming one of the 300 "Leading Hotels of the World." In 1990 he sold Le Mirador to a Japanese group. He bought it back in 1993 and extensively renovated the property. Then in 1998, he sold Le Mirador a second time – to a German software magnate, Hartmut Lademacher, and it is now part of the Kempinski hotel group.

In 1975, Segel started Presidential Airways, a private jet service with 5 jets and 3 helicopters, specializing in shuttling executives to the supersonic Concorde. He learned how to fly and achieved an unusual score of 100 on the instrument-rating test, but he chose not to pursue a pilot’s license after a hair-raising experience during flight training. Presidential Airways was financially unsuccessful and, after several aircraft changes, was sold in 1980 to its largest customer.

In 1980, Segel and his wife went on an African Safari. As an avid photographer, he shot over 3000 slides on that trip. He then selected the 50 most interesting pictures and individually printed a limited edition of each of them in his own darkroom. After agreeing to allow The Franklin Mint to market his "Portraits of a Safari" series, he learned that color photographs fade significantly over a five to ten year period, even when displayed under glass. Dismayed that collectors would not be aware of the fact that his photographs would gradually fade, he destroyed all the prints he had made and vowed to find a solution to the problem. That led him to start PermaColor Corporation to develop new systems for inhibiting the fading of color photographs. Eventually, through personal experimentation, he worked out a system to preserve color photographs for 50-100 years. He then went back to his darkroom and individually reprinted a limited edition of 60 of each of the 10 best photographs, protecting them with the new preservation system, and The Franklin Mint went ahead to successfully market the series. Nearly thirty years later, the photographs show no sign of fading. Segel now shoots only with Canon digital cameras and does all his photographic processing by computer.

Segel had always been fascinated with computers, going back to the earliest days of the industry. When the IBM Personal Computer was introduced in 1983, he bought the first PC delivered in the Philadelphia area. After discovering that the initial software left a lot to be desired, he founded Software Digest and National Software Testing Laboratories (NSTL), which has become the world’s leading independent PC software testing organization. NSTL was subsequently acquired by McGraw-Hill and is now privately owned.

In 1986, Segel noted the success of the pioneering home shopping program, Home Shopping Network. After watching the primitive nature of its programming at that time, he immediately recognized that televised home shopping could be made significantly more appealing in a number of ways. So he then started QVC Network (standing for Quality-Value-Convenience). Within three months after starting the company, Segel raised over $20 million in an IPO. With a novel plan to sign up cable companies by awarding them convertible preferred stock in proportion to the number of homes to which they would carry the QVC program, Segel initially lined up over 7 million TV homes for the network’s launch. The first broadcast, five months after the company was started, was carried by 58 cable systems in 20 states.

Segel introduced numerous innovations to televised home shopping, such as accurately describing products rather than hyping them, full disclosure of shipping and handling charges, and imbuing all employees with the mission to "give customers more than they expect." In its first year, QVC registered sales of $112 million — a record for first-year sales of a new public company that had not taken over an existing business. In 1989, Segel decided that the next important step in expanding QVC"s sales would be to acquire Cable Value Network (CVN). Supported by TCI, the nation’s largest cable operator at the time, CVN had become the second largest televised shopping network, not quite as large as HSN but twice the size of QVC. CVN was bought by QVC for $380 million, primarily with financing provided by banks and cable operators.

The purchase of CVN was described as a python swallowing an elephant, resulting in an initial quarterly loss of $17 million. However, the calculated gamble to establish QVC’s market leadership eventually paid off. In 1986 there were 17 other new shopping channels trying to improve on the HSN model. Only one – QVC-- would survive into the 90’s. Segel retired as chairman of QVC in 1993, but he continues to be associated with QVC as Chairman Emeritus and consultant to QVC management. In 1995, Comcast Corporation and TCI acquired QVC. TCI’s interest was subsequently acquired by Liberty Media, and Liberty Media eventually bought out Comcast’s 57% interest for nearly $8 billion.

QVC is now one of the largest television networks, broadcasting live to more than 80 million homes in the USA, England and Germany. Now with over 10,000 employees and more than 10 million customers, QVC’s annual sales around $7 billion. It has become more than twice as large as HSN, still its principal competitor.

Segel started several other smaller companies in recent years, such as International Skincare Research, Inc., SmokeStoppers, Inc. and HealthLift.com. All of those businesses have been sold. He now spends most of his time experimenting with new PC software and digital imaging. He is determined to stay in retirement, which he enjoys immensely, and has vowed not to get involved in the active management of any new businesses.

An avid wine connoisseur, Segel maintains a unique, private database of ratings of American and Australian chardonnays, syrah and zinfandel and has become somewhat of an expert on Australian wines.

Segel’s public service activities have been concentrated in the field of international diplomacy. In 1971, he was elected chairman of the Board of Governors of the United Nations Association of the USA. And, in 1973, President Ford appointed him as a member of the U.S. Delegation to that year’s United Nations General Assembly, where he served under U.S. Secretary of State Henry Kissinger. During that term, Segel made a landmark speech at the United Nations General Assembly condemning apartheid in South Africa, which presaged a shift in U.S. policy toward a more active role in ending apartheid. He also organized a national campaign of The Advertising Council to improve public understanding of the United Nations, chaired a national conference on the United Nations for the American Society of Newspapers Editors and testified in support of the United Nations before the U.S. Senate Foreign Relations Committee. During Segel’s involvement with the United Nations in the 60’s and 70’s, he met with numerous ambassadors, several foreign leaders and three U.S. presidents.

Segel was born in 1931. He has been married since 1963 to Doris Segel. The Segels have residences in Bryn Mawr, Pennsylvania and Boca Raton, Florida. They have three grown children and six grandchildren.

BUSINESSES STARTED BY JOSEPH M. SEGEL

1. 1947 Eastern Advertising Co., Inc. -- advertisingspecialties.
2. 1949 Desk-Sign Manufacturing Co., Inc. -- personalized desk signs.
3. 1950 Magicard Co., Inc. -- promotional mailing pieces.
4. 1950 The Advertising Specialty Institute, Inc. -- central information service.
5. 1953 Colorcrafters, Inc. -- pioneer in full-color printing.
6. 1954 Selective Gift Institute, Inc. -- business gift selection service.
7. 1960 National Business Services, Inc. -- consolidation of last 3 businesses.
8. 1961 Gem Publishing Co., Inc. – books featuring humorous sayings.
9. 1962 Jordan-Edwards Co., Inc. -- pocket appointment and record books.
10. 1964 National Commemorative Society, Inc. -- producer of commemorative medals.
11. 1964 The Franklin Mint (initially called General Numismatics Corporation).
12. 1965 Britannia Commemorative Society, Inc. -- producer of commemorativemedals.
13. 1970 Le Mirador, S.A. -- Swiss resort hotel, spa andconference center.
14. 1975 Presidential Airways, Inc. -- private jet and helicopter charterservice.
15. 1980 RateSearch Corporation -- computerized air freight rate analysis service.
16. 1981 PermaColor Corporation -- systems to preserve color photos.
17. 1983 Software Digest, Inc. -- PC software rating reports.
18. 1983 National Software Testing Laboratories, Inc. -- PC software testing.
19. 1986 QVC Network, Inc. – televised home shopping.
20. 1997 International Skincare Research, Inc. – Le Mirador skincare products for QVC.
21. 1997 SmokeStoppers, Inc. – smoking cessation programs
22. 1997 HealthLift.com – interactive health enhancement system.

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The bronze versions: trash. The sterling silver versions: treasure. Calendar medals were issued in 1967, 1968, and 1972-1980. Each medal is 77 millimeters in diameter and has an antiqued finish. The Calendar medals for 1967, 1968 and 1972 were struck with the Benjamin Franklin portrait designed by Gilroy Roberts. Beginning in 1973, these medals featured an original work of art whose design includes a calendar for the year. Starting in 1972, the medals were produced in both sterling silver and bronze. The bronze versions have little if any value.

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Many nations mint bullion coins, of which the most famous is probably the gold South African Krugerrand. Although nominally issued as legal tender, these coins' face value as currency is far below that of their value as bullion. For instance, Canada mints a gold bullion coin (the Gold Maple Leaf) at a face value of $50 containing one troy ounce (31.1035 g) of pure 24K gold. Bullion coins' minting by national governments gives them some numismatic value in addition to their bullion value, as well as certifying their purity.

The level of purity varies from issue to issue. 99.9% purity is common. The purest mass-produced bullion coins are in the Canadian Gold Maple Leaf series, which go up to 99.999% purity. Note that a 100% pure bullion is not possible, as absolute purity in extracted and refined metals can only be asymptotically approached. Usually a bullion coin contains a stated quantity (such as one troy ounce) of the slightly-impure alloy; the Krugerrand is unusual in containing one troy ounce of actual gold, with the impurity making the coin heavier than one ounce.

When you go to sell your modern gold coins to a dealer, you will receive a percentage of their full value. You will NOT receive 100% of the value, because dealers must make a profit in order to stay in business. The percentage of full value (called the spot value or spot price) will vary widely from dealer to dealer. Dealeres will offer anywhere from 80% to 90% of the "spot" price for your coins. Obviously, the higher percentage you can get, the better for you.

Another factor you must consider before you start doing the math is the "purity" of the coin you are selling. Not all modern gold coins are pure gold. Most are 24K gold, but some are only 22K. For purposes of simple calculation, we will consider pure 24K gold coins. If a dealer is offering to pay you 90% of spot, here is how to calculate the actual price he is offering:
1. Get the current spot price (from a site like www.metals-quote.com).
2. Multiply that price by the percentage the dealer is offering you.

Let's say the current spot price is $900.00 per ounce and you have a one ounce 24K gold coin for sale. The dealer has offered you 90% of spot for it. Simply multiply $900 X .90 (or $810) to get the price he is actually offering.

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One Ounce of Gold
The South African Chamber of Mines had an inspired idea to help market South African gold. It was to issue a one ounce bullion coin, to be sold at a very low premium over the intrinsic gold value.

Back in 1967
Krugerrands were first minted and issued in 1967, and have been produced every year since. They have legal tender status in South Africa, which allowed them to be imported into many, but not all, countries without import taxes, duty or VAT.

The Krugerrand Family
Originally only one size was issued, which contained one full troy ounce (31.1035 grams) of fine gold. This was originally known as a Krugerrand, or Kruger, for short. From 1980, three other sizes were introduced, namely a half, quarter, and tenth ounce size. Because of these, the original Krugerrand is sometimes referred to as a "full" or "one ounce" Kruger or Krugerrand, although within the trade, the word Kruger or Krugerrand is understood to be the full sized original one ounce version.

British Investors Missed Out
At the time of the kruger's introduction, it was not legally possible for British residents to acquire bullion gold coins, so that the Krugerrand was almost unknown in Britain until 1971.

Low Premium Over Gold Content
According to the publicity at the time, the Kruger was to be made available to world bullion dealers at a 3% premium over the current gold fix, so that after distribution costs, the coins would be available to investors in quantity at about 4% to 5% over intrinsic gold values, and possibly 10% premium for single pieces.

Higher Premium on Smaller Sizes
The fractional sizes were issued at higher premiums to bullion dealers of 5%, 7%, and 9% respectively. The fractional coins have never been as popular as the full one ounce coins, usually only being purchased as singles, so that in practice, it would usually cost 10% to 15% premium for the half and quarter ounce, and from 20% to 50% premium for the tenth ounce, most of which seem to have been used in jewelry. Most bullion houses do not want the bother of handling small quantities of low value coins

Technical Specifications
The following tables summarize the specifications of all the sizes.

Size	Face Value	Weight	Fineness	Gold Content	Gold Content
	Rands	Grams	/1.000	Grams	Troy Ounces
Full	10	33.9305	.917	31.104	1.0000
Half	5	16.9653	.917	15.552	0.5000
Quarter	2.5	8.4826	.917	7.776	0.2500
Tenth	1	3.3931	.917	3.110	0.1000

Size	Remedy (Grams)	Min Diameter (mm)	Max Diameter (mm)	Min Thick (mm)	Max Thick (mm)	Edge
1 oz	+ 0.07	32.61	32.77	2.74	2.84	180
1/2 oz	+ 0.035	26.93	27.07	2.115	2.215	150
1/4 oz	+ 0.02	21.94	22.06	1.788	1.888	140
1/10 oz	+ 0.01	16.45	16.55	1.25	1.35	115

Table Notes
We understand "remedy" to mean the excess weight which the coins are designed to have to allow for any manufacturing tolerances.
The ¹/₁₂th of the alloy which is not gold, is copper.
Min. = minimum.
Max. = maximum.
Diameter. = diameter.
Thick. = thickness.
Edge = number of edge serrations

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One Ounce of Gold
Many countries now issue a one ounce bullion coin, to be sold at a very low premium over the intrinsic gold value. The American version is the Eagle.

Krugerrands versus Eagles
Because krugerrands were the first one ounce gold bullion coins to be issued, it is worth comparing gold eagles with krugers.
Krugerrands were first issued in 1967, as one ounce bullion coins. From 1980, they were also produced in fractional sizes of half ounce, quarter ounce, and tenth ounce. Eagles were introduced in 1986, in all four weights except the quarter ounce which was not introduced until 1987

The Eagle Family
Gold Eagles are available in four different sizes and weights, from one ounce to one tenth of an ounce, as detailed below.

Technical Specifications
The following table summarises the specifications of all the sizes.

Size	Face Value	Diameter	Weight	Fine	Gold Content	Gold Content
	US $	mm.	Grams	/1.000	Grams	Troy Ounces
One Ounce	50	32.7	34.0500	.917	31.104	1.0000
Half	25	27.0	17.0250	.917	15.552	0.5000
Quarter	10	22.0	8.5130	.917	7.776	0.2500
Tenth	5	16.5	3.4120	.917	3.110	0.1000

Table Notes
The ¹/₁₂th of the alloy, or 8.33%, which is not gold, is 5.33% copper and 3% silver. Diameter = Diameter in millimeters.
US $ = US Dollars
mm. = millimeters.
Fine = Millesimal fineness.
Qtr = Quarter.

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This list gives approximate weights in grams of American silver coins prior to 1964. It is important to note that pre-1964 American silver coins contain 90% silver, not 100%. There are 31.1 grams in a troy ounce. Silver is bought and sold in troy ounces on the commodities markets.



Coin Type Grams
Silver Dollars (pre-1965)   26.7 grams
Half Dollars (pre-1965)      12 grams
Quarters (pre-1965)            5.8 grams
Dimes (pre-1965)               2.5 grams

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This series of four plates was produced from four original sculptures created especially for this series by renowned Western artists. These were the first Franklin Mint plates to be issued in both 22K gold and Sterling silver, and the first series of sculptured plates. Each plate is serially numbered on a medallion affixed to the reverse of the plate.

Each plate was produced in a 22K gold version which weighed roughly 22 troy ounces or 684 grams.

1 Horizons West by Richard Baldwin, 1972, 8 inch diameter, bas-relief
2 Mountain Man by Gordon Phillips, 1972, 8 inch diameter, bas-relief
3 Propsector by Gus Schaefer, 1973, 8 inch diameter, bas-relief
4 Plains Hunter by John Weaver, 1973, 8 inch diameter, bas-relief

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W. R. Case & Sons did not stamp the pattern number on their knives consistently until 1949. However, the pattern number has always been used at the factory level for purposes of records, cataloging, etc. I feel that, after you become familiar with the system, you will agree that is it very comprehensive.

Case uses abbreviated letters following the pattern number to identify various types of blades. Briefly, let us look at a pattern number and its abbreviated letters. For example, let us take pattern number: 6347 SH SP SSP. To the new collector, this number might seem complicated, but, a little time spent studying this article should make it very easy to understand.

NOTE: When a zero (0) appears before the first number or in the middle of the pattern number, it signifies that the pattern is a modification of another pattern.

The FIRST NUMBER designates the type of handle material used. It is coded as follows:

• (1) – Walnut
• (2) – Slick Black or Black Composition
• (3) – Yellow Composition
• (4) – White Composition
• (5) – Genuine Stag, Second Cut Stag, Red Stag, or Midnight Stag
• (6) – Jigged Bone (Bone Stag), Imitation Jigged Bone (Delrin), or laminated wood
• (6.5) – Genuine Bone Stag
• (7) – Curley Maple and Other Woods, Tortoise Shell, Black and Pakawood
• (8) – Genuine Pearl, Abalone, or Paua
• (9) – Imitation Pearl or Cracked Ice
• (10) – Micarta
• (A6) - Appaloosa Smooth Bone
• (B) - Imitation onyx
• (CI) - Cracked Ice
• (CT) - Christmas Tree
• (EX) - Exotic(Red Coral, Blue Lapis, Exotic Turquoise, and others)
• (G) - Green Metal Flake, Red metal Flake, or Pick Bone
• (G6) - Smooth Green Bone
• (GS) - Goldstone, Gold Metal Flake, or Glitter Stripe
• (H) - Molten Brown or Cream Composite
• (HA) - High Art
• (I) - Imitation Ivory, or Mammoth Ivory
• (M) - Metal
• (P) - Pakkawood
• (R) - Candy Cane Stripe celluloid
• (RM) - Red Mottled
• (S) - Silver
• (SG6) - Smooth Green Bone
• (SR6) - Smooth rose bone
• (V5) - Vintage Stag
• (V6) - Vintage Bone

The SECOND NUMBER represents the number of blades.

The THIRD and FOURTH NUMBERS are the factory pattern. When a (1/2) follows the pattern it indicates that the master blade is of the “clip” style.

Next we come to the abbreviated letters following the pattern number. These letters identify the type of blades used. These letters are coded as follows:

• SAB – Master Blade is Saber Ground
• SP – Spay Blade
• P – Punch Blade
• RAZ – Razor or “One Arm Man” Blade
• F – File Blade
• PEN – Pen Blade
In addition to the abbreviated letters listed above you will note the following letters stamped on the blade following the abbreviated letters. This letter will help you in identifying individual patterns. They are as follows
• L – Blade locked when open
• EO – Easy Open
• SCIS or SC – Scissors
• SHAD or S – Shallow (No Bolsters
• SS – Stainless Steel Blades & Springs
• SSP – Stainless Steel Blades & Springs (Polished)
• DR – Bolsters Drilled for Lanyard
• R – Bail in Handle
• T – Tip Bolsters

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Free Knife Appraisal

The Cattaraugus Cutlery Company stamped nearly all of their knives with pattern numbers in a unique numbering system. They may have also denoted different blades and colors of handles with letter abbreviations, but this is rare.

The first figure of the pattern number indicates the number of blades (1 means one blade, etc.).

The second figure indicates the number and type of bolsters:
0 = no bolsters
1 = front bolster only
2 = front and rear bolsters
3 -- tip style bolsters
5 = diagonal (slant) bolsters


The last figure of the pattern number denotes the type of handle material used:
1 = white fiberoid
2 = french pearl
3 = genuine mother of pearl
4 = celluloid
5 = genuine stag
6 = ebony
7 = concobola
8 = white bone
9 = stag bone


The remaining numbers (3rd and 4th in most cases) are the pattern number.

Beware: after Cattaraugus went out of business, someone bought the remaining parts and assembled them, resulting in low quality, crude examples. Also, the stamping on these later knives is very poor. Do not confuse these later knives with original manufacture.

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Hummel figurines are fun to collect, and can even be valuable. This article lists some of the most valuable Hummel figurines, and explains why they are valuable. "For Father", "Globe Trotter", "Little Goat Herder", and "Going to Grandmas" are great examples of valuable Hummels. As with all collectibles, the condition and the rarity of a Hummel will affect its value. However, the value of a Hummel is affected by many things. For example, part of what makes Hummels so valuable is the keen eye for detail, colors, and expressions.

Hummels have been on the marketplace for a long time. In the 1930s, Franz Goebel, the founder of Hummel Figurines, thought that in a world of political turmoil, customers would respond to a product that depicted the gentle innocence of childhood. The artwork of a Franciscan Sister named Maria Innocentia Hummel was introduced to Mr. Goebel. The nun made drawings of country children that were printed as art cards. These art cards would soon be famous around the world.

Goebel wanted to produce a line of figurines based on Maria Hummel’s artwork. She was contacted at the Convent of Siessen and was shown clay models based on her drawings. Sister Hummel thought the idea of turning her artwork into ceramic models was a wonderful idea, and she granted sole rights to Goebel to create ceramic figurines based on her original artwork. Sister Hummel was a perfectionist, so she insisted that she personally approve the sculpting and painting of each porcelain piece. It was determined that earthenware, pioneered by Goebel in the 1920s, was the proper material for the new line.

In order to determine whether or not a figurine, plate, or bell is a genuine Hummel piece, one should search for definitive marks identifying the Hummel as legitimate. The mark of Sister Hummel is carved into every piece. Sister Hummel’s stamp of approval appears on every piece and under the direction of the members of the convent, approvals were made with care. All Hummels have a mold number; a number that is incised on the bottom of each Hummel figurine at the factory. Goebel’s stamp on the underside of the figurine is yet another indicator. Hummel’s trademark has changed over the years, yet every authentic M. I. Hummel figurine will have a Goebel stamp on its underside. Any variation in this stamping causes a source of great excitement for Hummel collectors.

Hummel Figurines have been collected for over 80 years, and continue to have a strong market even today.

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The German teddy bear company, Steiff is responsible for the production of many expensive collectible bears and also the most expensive teddy bear ever made. The Steiff company claims to have made the world’s first teddy bear and has produced a golden bear to commemorate its 125th anniversary.

The expensive bear has a mouth made of solid gold and fur made from gold thread. Topping off the teddy bear are jeweled eyes featuring sapphire pupils with diamond irises.

If you or your daughter simply “must have” the world’s most expensive teddy bear, you might have to search hard for the purchase. Only 125 of the collectible edition bears were produced, making them not just hard to afford, but also hard to find. These bears came with a price tag of 62,446 Euros (about $84,000 USD). But you don’t have to empty your bank account just yet, Steiff toys makes a wide variety of teddy bears that are more affordable than this rare anniversary edition and will still make you feel like a teddy bear connoisseur.

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Hummel figurines are fun to collect, and can even be valuable. This article lists some of the most valuable Hummel figurines, and explains why they are valuable. "For Father", "Globe Trotter", "Little Goat Herder", and "Going to Grandmas" are great examples of valuable Hummels. As with all collectibles, the condition and the rarity of a Hummel will affect its value. However, the value of a Hummel is affected by many things. For example, part of what makes Hummels so valuable is the keen eye for detail, colors, and expressions.

Hummels have been on the marketplace for a long time. In the 1930s, Franz Goebel, the founder of Hummel Figurines, thought that in a world of political turmoil, customers would respond to a product that depicted the gentle innocence of childhood. The artwork of a Franciscan Sister named Maria Innocentia Hummel was introduced to Mr. Goebel. The nun made drawings of country children that were printed as art cards. These art cards would soon be famous around the world.

Goebel wanted to produce a line of figurines based on Maria Hummel’s artwork. She was contacted at the Convent of Siessen and was shown clay models based on her drawings. Sister Hummel thought the idea of turning her artwork into ceramic models was a wonderful idea, and she granted sole rights to Goebel to create ceramic figurines based on her original artwork. Sister Hummel was a perfectionist, so she insisted that she personally approve the sculpting and painting of each porcelain piece. It was determined that earthenware, pioneered by Goebel in the 1920s, was the proper material for the new line.

In order to determine whether or not a figurine, plate, or bell is a genuine Hummel piece, one should search for definitive marks identifying the Hummel as legitimate. The mark of Sister Hummel is carved into every piece. Sister Hummel’s stamp of approval appears on every piece and under the direction of the members of the convent, approvals were made with care. All Hummels have a mold number; a number that is incised on the bottom of each Hummel figurine at the factory. Goebel’s stamp on the underside of the figurine is yet another indicator. Hummel’s trademark has changed over the years, yet every authentic M. I. Hummel figurine will have a Goebel stamp on its underside. Any variation in this stamping causes a source of great excitement for Hummel collectors.

Hummel Figurines have been collected for over 80 years, and continue to have a strong market even today.

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Berta Hummel (later Sister Maria Innocentia Hummel) signed her original drawings in a number of different forms in the lower left or right corners. These signatures can be seen clearly in most two-dimensional reproductions. Generally, the most common form of her signature is a cursive "M.I. Hummel". An example of which is Angelic Sleep.

No examples of this style of signature have been seen on her children or non-religious subjects. The Goose Girl was the only titled drawing and box-style signature encountered.

Companies who reproduce two-dimensional versions of Sister Hummel's art usually add a monogram or symbol of copyright registration. This symbol often appears near the signature but is not part of the original drawing. Ars Sacra Verlag, Josef Muller, one of the licensees, uses the letters A & R worked into a monogram. The Emil Fink Verlag reproductions do not appear to have anything similar in the picture area or face of the reproduction.

Many prints, cards, or picture reproductions are cropped by the publishers in order to obtain a different composition or treatment. This cropping frequently eliminates any evidence of the Hummel signature.

Collectors familiar with Sister Hummel's style probably are not confused by the absence of a signature on some reproductions. However, the novice might find it disturbing not to be able to distinguish between a cropped piece reproduced from and original Sister Hummel painting and Hummel-like paper products such as those published by Alfred Mainzer of Long Island City, which are not copied from original Hummel art. Until the beginning collector is able to distinguish original reproductions, he might wish to collect only those items in one form or another with a Hummel signature on them.

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M.I. Hummel figurines are small ornamental figures made of porcelain, the highest grade of ceramic. These three-dimensional figurines are adaptations from original drawings and paintings of Sister Maria Innocentia Hummel. These adaptations are all approved before production by the Franciscan Convent at Siessen, Germany, where Sister Maria Innocentia Hummel lived until her death in 1946. All master models created from Sister Hummel's originals are and always have been subject to convent approval since they were first issued in 1935. A special licensing and royalty agreement between the convent and the Goebel company specifies this approval.

Authentic M.I. Hummel figurines are only made by the W. Goebel Company and can be distinguished from any other figurines in a very simple way. A genuine M.I. Hummel figurine must have a facsimile signature incised somwhere on the figure or edge of the base. Unless this incised facsimile signature is on the figurine, it is probably not a genuine M.I. Hummel Figurine. Although the W. Goebel Company did vary many of their other marks, collectors can be grateful that in the application of the facsimile signature they were both consistent and persistent. Some of the very small designs only two or three inches high are difficult to mark so that the resulting signature is indistinct on some but it should be there and it worth the hunt.

M.I. Hummel figurines are not only signed but are probably one of the best marked ceramic objects that have been made since porcelain was rediscovered. This excellent marking makes collecting them a joy because of the story that unfolds when one learns to read the marks on the bottom of every piece. Because of the nearly infinite combinations and variations of markings, in almost every instance two important questions, "Who made it?" and "When was it made?" can be answered with some assurance. Since 1870, the W. Goebel company has used more than twelve different trademarks although some of them are a minor variation of one theme.

The marks of interest to M.I. Hummel figurine buyers are those from 1935 to date. In this article, all trademark information have been condensed to conform to the manner in which most collectors are already using it today.

These trademarks have been applied as conscientiously as the facsimile signature "M.I. Hummel." In the early days the trademarks were also applied by incising. Later trademarks are stamped in blue ink after the first firing and before the final firing so that they are under the glaze and practically tamper-proof. A study of the pictures of the actual figurine back stamps shows that for many years only an insignia rather than the name of the manufacturer was used. The use of an insignia rather than a name is a common practice among porcelain manufacturers. In 1950 this insignia became the "Full Bee." Since the words "Das Hummele" mean "busy bee", an association between this logo of the W. Goebel Company and Hummel figurines evolved to the point of confusion for many buyers. All Hummel trademarks are the logo of the W. Goebel Company itself and are used by them on all their products from figurines to dinnerware.

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M.I. Hummel porcelain figurines are only one adaptation of Sister Hummel's art. Other collectible adaptations are Hummel dolls, plates, prints, pictures, postcards, calendars, books, bells, boxes, and candles.

M.I. Hummel dolls are made exclusively by the W. Goebel Company and were added to the line in 1955. W. Goebel had been making other dolls since 1871. These dolls are made with vinyl plastic. Doll collectors report that these dolls can be bought in the United States, but can be purchased for considerably less in Germany, where is seems the majority of Hummel dolls are sold.

M.I. Hummel plates entered the Goebel line in 1971 with their first limited edition annual (Christmas) plate. That same year, Schmid Brothers, Inc., of Randolph, Massachusetts, introduced a Berta Hummel Christmas plate. Since that year both companies have continued to produce commemorating plates plus at least one limited edition each year. Schmid also introduced a limited edition Mother's Day plate in 1972 and has issued one each year since.

Paper prints, pictures, and postcards adapted from Sister Hummel's original paintings actually predate the production of figurines. Josef Muller and Emil Fink, both publishers, entered into separate agreements with Sister Hummel and her convent for the rights to reproduce her works in the early thirties. Paper calendars based on Hummel are are made by W. Goebel, Emil Fink, and Josef Muller.

Three books reproducing drawings and paintings of Sister Hummel are The Hummel Book, by Hummel and Seemann, copyrighted by Emil Fink Company in 1934, The Hummel published and copyrighted by Josef Muller in 1939, and a rare, out-of-print biography by and American Franciscan nun entitled Sketch Me, publisher and date unknown.

Hummel bells, boxes, and candles for the most part are distributed by the Schmid Company using transfers or decoupages of reproductions of Sister Hummel's art. These adaptations can be identified in the same way as the reproduced Hummel Prints, by the signature of Sister Hummel found in many forms. If the picture has been cropped, the collector must learn to recognize genuine Hummel adaptations, look for the Schmid name, or trust his dealer.

There are many Hummel-like products on the market of every type and form imaginable. The principal, authorized adaptations of Sister Hummel's can be identified by checking for the facsimile signature, the company, or by learning to recognize the distinctive style of Sister Hummel's art.

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When Dale Carnegie wrote How to Win Friends and Influence People, he could not have had authors of price guides in mind. Having produced over ten price guides in the last fifteen years, this author is unaware of having won many friends. However, it appears from the many letters received that price guides do influence collectors, dealers, and appraisers. The people who use price guides most effectively view them as just one of four or five factors to be considered in any specific case. Unfortunately some readers select a price assuming it to be a quick and final answer. They use a book as a bible rather than a guide.

The prices listed on this site include new, old, rare, unusual, and scarce Hummels of all types. one nationally known collector commented, "Sure, you can issue price lists for new Hummel figurines easily, just take production costs and add a profit. But you can't publish a price guide of 'Old Hummels'; that's impossible." A sage once said, "The impossible only takes a little more time and a little more effort."

Publishing a price guide is not quick or easy. Data collected from hundreds of people, stacks of letters, many publications, and thousands of miles of travel must be compiled, sorted, and placed in meaningful order so that statistical methods can be applied. With many additional steps, including checking each figure with many experts, a price for each item is arrived at. What does that price mean? It is simply a price that applies for only one set of conditions. It is only a guide. It is not absolute. It is not exact.

It is a selected figure representing what might be a fair price in a number of instances. It is a starting point. From this price a number to fit a particular situation can be determined with much greater accuracy. By modifying the listed figure for time, place, and circumstances, a price mutually satisfactory to the buyer and seller is more likely. The deal is made fairly and quickly.

A sale might involve a collector who discovers from the price guide that he has an item with unusual size, color, and markings. According to the price guide only a few are known to exist and have sold from $900 to $1,400 when offered. While he's still undecided about what to do, a dealer calls to ask if he is interested in selling, having heard about the piece from a mutual acquaintance. The conversation might go something like this: Dealer: "By any chance do you have an oversize Merry Wanderer with red shoes?"

Collector: "No, this one has green shoes, but otherwise it is just like the book says."

Dealer: "I have a good customer that's been waiting for years to find one like you describe. How much do you want for it."

Collector: (After a moment's hesitation) "Fourteen hundred dollars."

Dealer: "All right, on one condition. I will send you a cashier's check for $1400 providing you give me five days to make sure the figurine is as you describe it."

Collector: "That's fine with me. I'll hold it if I get your check before next Tuesday."

What happened? Why was the dealer willing to pay more than some collectors had paid in the past. At least one good reason might have been that his customer had told him he would pay up to $1600 anytime for such an example. With little risk involved the dealer can make a fast, small profit. He's happy, his customer is happy, and the seller is ecstatic. In the seller's opinon the author of the price guide is a great fellow with conservative prices.

A final example of a possible sale might be as follows. The very same collector with the "$1400" figurine with green shoes might spend hours calling dealers and writing out-of-town ones listed inthe Buyer's Guide. Finally, getting impatient and disgusted, he might give the piece to a commission auctioneer to sell who agrees to retain 25% of the proceeds as his comission. The auction is on a bad day. Only the mailman and a few hardy individuals are out. Nobody at the auction cares especially about the Hummel figurine or its value. It goes for $50 on two bids. Now the collector is certain the author of the price guide knows nothing about pricing Hummel figurines. In both cases, although fictional and extreme, the price in the book was only a guide. The figure had to be modified by the conditions at the time of the sale.

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Real, Fake or Reproduction?

Strangely enough, there are only a few hundred pieces of Hummel art that are not reproductions. Some reports place the number of original sketches by Sister Hummel between five and six hundred. All others are copies or reproductions of these original creations of hers. The reproductions take many forms, such as the best known, genuine "M.I. Hummel" figurines made by the W. Goebel Co., the prints, posters, and cards made by Verlag Ars Sacra, Joseph Muller, and Emil Fink publishing companies, the dolls also made by Goebel in the likeness of some piece of original Hummel art, the transfers used on plates, candles, and eggs by Schmid, and the copies made by various firms in Japan, Korea, Taiwan, and elsewhere.

Many collectors have come to regard a reproduction as something bad, cheap, illegal, dishonest, or inferior. The American Heritage Dictionary defines "reproduce" as follows: "To produce a counterpart, a image, or copy of." There seems to be no implication of undesirability.

Certainly the first reproductions of great consequence were very desirable. The invention of movable type made possibly the first replicas in the form of the limited number of Guttenberg Bibles made in the mid-fifteenth century. The making of reproductions in the form of etchings and engravings by great artists, such as Rembrandt and Durer, was another great stride in the wider distribution of original art in either limited or unlimited editions so that masses rather than the classes could own and enjoy it.

Figurine reproductions of Hummel art accomplish the same end. By adapting Sister Hummel's works of art to a three-dimensional form by a carefully controlled molding process, creators of these "reproductions" have given millions of collectors a chance to carefully preserve all the warmth, sentiment, and the action of her original creations. In fact these reproductions are done so well many people regard them as they would an original piece of art. To support this position, even the United States Customs classifies them as "original works of art" as shown earlier in this book. Since "M.I. Hummel" figurines have taken on the status of pieces of original art themselves, they, in turn, are now being copied. Unfortunately, most of these copies are not made to the same high standards as the "M.I. Hummels" and are unlikely to ever be classed as "works of art."

The story of the figurines made by Herbert Dubler, Inc., during World War II in New York is a good example of such reproductions. They were made, according to published information, under a license from the Siessen Convent and for which royalties were set aside. Almost everyone who has seen them agrees that they do not compare favorably in execution, workmanship, or materials to those made by Goebel. This face, perhaps, could somewhat be accounted for by wartime shortages.

They are not good reproductions of original Hummel art, but neither are they fake. A "fake" implies fraud. These reproductions by Herbert Dubler, Inc., and those from Japan, Taiwan, or elsewhere are not so much "fakes" as they are inferior representations of Sister Hummel's work. Like eggs, there are good reproductions, mediocre reproductions, and "bad" reproductions. Sister Hummel's originals have been rendered in all of these degrees of quality.

Since the words "Hummel reproduction" have come to mean something made to look like the "M.I. Hummel" figurines, this seemingly widely accepted meaning has been used in this book. Many examples of such reproductions have been made in the past and are currently being made.

Figurines are not the only Hummel art that has attracted similar but not identical copies. Similar enough to attract the eye of the buyer but not dissimilar enough to deter any legal action are greeting cards, calendars, and other paper likenesses drawn in the Hummel "style and manner." For example, Henry Mainzer, Inc. produces a line of Christmas and greeting cards that on first glance appear to be photomechanical copies of original Hummel drawings. However, they contain the name of no artist and no copyright date.

As with other reproductions, some are good values while others may vary widely in quality. For example, a Mainzer 1977 calendar was seen and purchased because of its similarity to Goebel's annual Hummel calendar. Close inspection showed items to have visuals defects that would not be tolerated by any first-rate publisher. However, this example may have been an extreme exception. The prudent approach is to bypass such bargains unless you have real expertise in appraising reproductions.

However, avid knowledgeable collectors seek out reproductions for two reasons. First, because they supplement a collection of authentic articles and may even enhance it since imitation is the sincerest form of flattery. Second, these reproductions add meaningful contrast and, in some cases, may even make a separate, interesting collection. Dubler figurines are acquiring status as collectibles, although they will never be works of art in years to come.

Many collectors wonder if they same thing will happen in various forms of Hummel art. There appears to be a better-than-even chance that it could in isolated cases, but probably not "across the board." Even if most "M.I. Hummel" collectors wanted only one Herbert Dubler figurine to supplement their collections for contrast, there are so few "dublers" available that they could become worth more than comparable "M.I. Hummels" in the secondary market. The demand versus the supply will provide the answer in the future.

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   It is very difficult for me, in writing this chapter, to know where to start this story. Sister M.I. Hummel. So many accomplishments, such a short life span. It seems almost impossible that this story is about a single, frail, ever-so-gentle lady.    Which Sister Hummel will I start with?    How will I explain this Berta Hummel, who was affectionately called s'Hummele or Bertl by her family? What do I say about a child, long gone, that was so alive and has so much zest for living?    Should I start with Miss Berta Hummel the artist, outstanding in her craft, with a bright future - a pretty young lady, so vibrant, always attentive to the needs of her fellow man and yet ready for a prank whenever the opportunity presented itself?    Should it be Maria Innocentia Hummel, the nun, the lady who gave up rich worldly promises for her religious belief?    Or, should it be the accomplished artist, the artist so extraordinary that entire museums have been dedicated to her life and creations?    And then, there is the lady, one so full of love, so full of caring that she kept on loving and caring even in times when the world only seemed to know hatred!

   I do not favor third-person biographies because it is so difficult to do justice to the subject. But I was asked to do this, so I will attempt to share what I have learned and what I feel about this lady and her art. The lady, I must add, is one whom I have learned to admire, and, yes, to love very much.

The only way I feel I can adequately perform this task is to let Sister Hummel's art assist me. I have found that is speaks well enough for its creator. Be reminded that I am not an accredited art critic nor historian, so if, in this attempt of sharing, I should make a mistake, I ask for forgiveness. It will have been an honest one.

   The Early Years

   Bertl. Little Princess. s'Hummele. If you are of German heritage, you will recognize these are endearing nicknames given to one much loved. They were the nicknames used for Berta after she was born May 21, 1909, in the small town of Massing in Lower Bavaria, Germany, the third of six children born to Adolf and Viktoria Hummel.

   From what I have been told by her brother Adolf, this little girl was an individualist from the earliest days of her life. She was not easily controlled

   When I asked Adolf when his sister first started to draw, his answer came quite quickly: "She was born with a pencil in her hand!" When Berta was a mere toddler, he explained, she would find a way to get to her daddy's desktop and, pencil in hand, "decorate" his work for him. She would "decorate" everything in the vicinity while she was at it!

   On another visit to Adolf shortly before his death in 1992, I was allowed to look through the family album and spotted a picture of blonde little Berta seated on a chair as if one a throne. Under the photo, her proud father had written the words Little Princess.

   In southern Germany and Bavaria, it is very common, in fact customary, to impart pet names to those for whom we deeply care. Ideally, the pet name reflects t he personality of the individual. The nickname Hummele must have been perfect for young Berta. It means little bumblebee, and we can readily imagine that Berta was one busy little girl.

   The nickname Bertl is also fitting. It's an endearing diminutive of Berta, a more informal way of addressing her.

   By the time s'Hummele started school, her creations already showed much promise for the arts and the theater. Creating fashions for her dolls was yet another favorite pastime, and there was early passion for nature and religion. Mr. Hummel often took his children on field trips into the countryside to teach them about God's creations. Afterwards he would encourage them to recreate these experiences and discoveries on paper.

   When World War I broke out in 1914, s'Hummele was stricken. Her father was called to serve in the Germany army, and he was terribly missed by this little six-year-old. His guidance, love, encouragement, understanding and discipline had been taken from her young life.

   No child at such a tender age can understand chaos of this nature, and Bertl began to show signs of willfulness, often trying the patience of teachers at the convent school in her hometown. Despite this, one of the teachers saw something very special in the child, deciding to do what she could to foster the talents of this youngster.

   Through the efforts of this lady, Berta was enrolled in a religious boarding school, the Institute of English Sisters, in the nearby town of Simbach. This took place on May 2, 1921, when Berta was 12 years of age.

   Here I would like to interject and share a story that might add insight to what life was like for this little girl during the war. She was nine at the time, and she in in a photograph since donated by Adolf Hummel to The Hummel Museum. In the photo, she's dressed all in white, flowers in her hair, holding a candle.

   It was Bertl's first holy communion picture - an important happening in her family. The photo had been used as a postcard which she had hand addressed to her father on the reverse.

   She tells him about this special day in her life that he was not able to attend. And there is a plea which touches me deeply. "Will you please be here for my confirmation in July? I would be so pleased." She was unable to comprehend that he daddy would be unable to attend the next important day in her life either.

   The contrast between life then and now is shown in the confirmation gift from her father. Where children today receive expensive mementos, her gift in 1918 was a photo postcard showing her father in uniform and his written explanation: "Sorry, I will not be able to be there for this special day in your life either."

Then and in succeeding years at the convent school in Simbach, Berta wrote frequently to her family. Favorite course was art, in which she received great encouragement. Her letters were frequently embellished with special drawings. A memorable one from the Christmas season depicts a Santa figure carrying a bag of toys and a tree. Adolf Hummel lovingly cataloged this collection of early letters, and many are now on display in the family's Berta Hummel Museum in Massing.

   These early memories must have greatly influenced such an impressionable child and stayed with Sister Hummel throughout life. For instance, I cannot help but be drawn to one of her originals which is cataloged as H 193 Little Brother's Lesson, which in turn was interpreted into the figurine Smart Little Sister.

   I believe with all my heart that Sister Hummel, remembering the terrible wartime in her early life, was moved when she once again saw young children writing letters to their fathers at remote military fronts. I think she is drawing her own memories in this original. I think she is showing her brother how to write their father.

   In her teens, Berta was setting out on all manner of artistic endeavors. her classmates had discovered her talent, and more than one would seek to be a subject in her drawings. She was introduced to watercolors, and developed a love for landscape painting.

   Germany is a country of folk tales and fairy tales. With her imagination, Berta found it simple to bring these characters to life on paper or on stage at school. At the same time, she was developing an individual style that was reflected even in her scenes and costume design.

   Berta was known for her ready sense of humor, and it is evident throughout her drawings that she had much fun with her own last name, Hummel. Imagine what you might do if your last name was Bumblebee and you were a young artist filled with both talent and a sense of humor.

   At age 16, she did a series of drawings with this Hummel theme. A brother is shown as a bumblebee running on his way to school, suggesting that he might have been late on occasion. Katharina, a sister, is a bumblebee dressed in a pink pleated skirt admiring herself in front of a mirror. Sister Viktoria is a bumblebee in a green pleated skirt positioned on a round stool playing the piano.

   What of herself? There is bumblebee seated, as if on a throne, atop a paint palette on wheels, behind which is a wagon filled with paint pots. The entire train is being pulled by a team of countless ants, while the bumblebee uses a paint brush like a whip to speed the team along, the paints spilling from the pots along the way. She called this memorable self-study The Bumblebee's Happy Drive Into the New Year.

   Seeing it made it easier for me to understand yet another portrait - this one done much later in 1940 of a new addition to the Hummel Family. Its catalog number is H 106 and, again, the English title of My Baby Bumblebee does not do it justice. her title, written in her own hand, was simply s'Hummele, which in the native Bavarian dialect I share with her literally means This Is the Little Bumblebee.

Perhaps when this latter work was done - when she was already at Convent Siessen, the war was on and she had to face so much that was ugly - she would sometimes wish and dream to be a little Hummele again, safe and protected by her parents just one more time!

   She so enjoyed poking fun at her name and she so often used the images of bumblebees in her drawings that the bumblebee can logically be thought of as her pictorial signature. With he been, she might be trying to say I was there, too or I'll protect you, little one, or perhaps in some cases the bumblebee was just so much fun for her to draw she could not resist.

   (Oh my, I got myself sidetracked again. I warned you.)

   Other than good educations, the schools where Catholic sisters reign are well known for one other ingredient: discipline! At these schools one will not only receive religious training, but, let's face it, the sisters can be very tough. One will learn restraint.

   From what I have heard, this was also the case with Berta at the convent school in Simbach. The strict environment helped her develop into a well adjusted and much-liked young lady, as well as a promising artist.

   The Middle Years

   It was a proud day for father Adolf when, in the spring of 1927, he accompanied his daughter to Munich to enroll her in the Academy of Fine Arts, where on April 25 she successfully completed her entrance exams and was accepted into this special school. To be in surroundings that were at least partially familiar, she took up residence off campus in a dormitory run by a religious order.

   At the academy, Berta was now receiving extensive training in all the arts. She learned to paint with oils and to sketch live models, even nudes. She learned to design and weave fabrics, and she continued to grow in mind and soul.

   Her teachers were very pleased with her as a talented and likable student, and they expressed the hope that she stay at the academy as a teaching assistant after completion of her final exams.

   She must, therefore, have been aware that not only the town, but the whole world, was opening up to her and recognizing her abilities. Somehow - and I doubt that anyone today really knows the exact reason - Berta made a decision that surprised everyone, including her own family.

   While she was a student at the academy, Berta formed a friendship with two Franciscan nuns who ere also students there. Did they convince this formidable young lady to become one of them? Was it her rural, loving and very religious upbringing that led her to her decision?

   Whatever the reason, before graduation from the academy, Berta Hummel visited the Convent Siessen in the state of Wuerttemberg to ask for admission. That was on August 14, 1930.

   On March 15, 1931, an excited Berta sent a telegram to her parents, informing them that she had passed her exams at the top of her class!

   On April 22, 1931, Berta entered the Convent Siessen as a candidate. She was immediately put to work teaching art in the nearby town of Saulgau and creating liturgical church garments in the art room at the convent. In her spare time, she was drawing children and working on art commissions.

   Her works were published as early as 1932. The first Hummel postcard were printed by publishing houses in Rottenburg and Munich.

   On August 30, 1934, Sister Maria Innocentia Hummel was ordained as a sister of the third order of Saint Francis in the Convent Siessen.

    The first Hummel book (named Hummel-buch) was printed on November 4, 1934, by the printing house of Emil Fink in Stuttgart, Germany. Printing for the first edition was 5,000 copies.

   Her Life As A Nun

   In retrospect, the years of 1933 and 1934 were important ones for Sister Hummel. Her art was on exhibit in Saulgau and soon thereafter captured the attention of both Franz Goebel, head of the Goebel porcelain factory, and principals from the printing firm ARS Sacra. Both were looking for fresh new ideas and were captivated by what they say - drawings of children with bright faces, serene and religious scenes, imaginative style. They found just what they had been looking for.

   Goebel and ARS Sacra successfully sought permission to reproduce Sister Hummel's art, initiating business relationships that continue to exist today. A number of Goebel figurines based on her work were made and introduced as early as 1935.

   These must have been happy times for Sister Hummel, but dark clouds were gathering over Germany. Hitler had taken full control of the country and was determined to destroy everything and everyone who did not conform to his wishes.

   There was this sister in this convent who just would not see things his way. She had the audacity to draw these peasant children with shoes too large, dressed to small, hair uncombed and all the while happy about it! Not at all the way he wanted the world to conceive of his super race!

   In a March 20, 1937, edition of the Nazi publication The SA Man, Sister Hummel and her art is viciously and publicly attacked. Soon thereafter, the sisters at Siessen, to their total dismay, learn that the Nazi government is determined to close the convent.

   In 1940, only about 40 sisters are allowed to stay at the convent. After much begging to remain, Sister Hummel is one of them. Convent Siessen itself is turned into a repatriation center for German nationals from other countries.

   The sisters are no longer in charge. They are made to stay in the less desired parts of the convent, since the rest is overflowing with the humanity that the sisters have to take care of.

   Sister Hummel, accustomed to a spacious studio of her own, is forced to move into new quarters serving as both bedroom and studio. The previous studio was made into an activity room for all of the remaining 40 sisters.

   One can imagine how the sisters in these evening gatherings would lament what had befallen their beloved home, the convent. One day, on esister was especially upset over the conditions and expressed herself to Sister Hummel.

   Sister Hummel suddenly left the room, only to return shortly to surprise the sister with a drawing of a little yellow duck. the duck is paddling its feet as if for dear life, its little neck and head high in the air. Under it Sister Hummel has written: Hold your head high....and swallow! She posted the drawing on the outside of the door where the sisters were staying.

   This waas but one of many anecdotes about Sister Hummel which have been preserved. She was known as always positive, always supportive toward others. I have been told that even in the times when she was so physically frail, her heart and mine were strong and always full of cheer.

   Many of her originals tell stories. Through them, she teaches even today what she believed to be right and wrong. These works of art also tell of sadness, hope, and joy. Whatever the subject, one can feel the love of the creator, because somehow she had the ability to weave her heart and soul into her art.

   Her Life Ends Prematurely

   It's sad that these terrible times took their toll on Sister Hummel. She contracted a lung infection which was probably the result of too little food and otherwise poor living conditions.

   Her illness would be diagnosed as chronic tuberculosis. It created a debilitating and extended period of poor health. She tried hard to continue her work during her illness, but often to no avail. The war finally ended, but help came too late for this special human being.

   Sister Maria Innocentia Humme, OSF, died on November 6, 1946. She was put to rest in the graveyard of the Convent Siessen by the sisters of the order on November 9, 1946. She was only 37 years old.

   One of the sisters who was there tells this story of the day this special lady was laid to rest:

   "During her illness, Sister Maria Innocentia Hummel had wished that it should snow on the day she was buried. On November 9, 1946, while her body was carried to its final resting place, snow began to fall in big, happy flakes from a single cloud in an otherwise blue sky until the earth was covered with a whiet veil, representing the veil of Innocence"

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   Because the subject of Goebel trademarks used on M.I. Hummel figurines can be either simple or complex, let's consider it that way.    Let's deal with it in two parts, which we'll call the short course and the long course    But we'll preface both parts by repeating, again, that it's difficult to use this or any other price guide on Hummel Figurines without a rudimentary knowledge of the trademarks (TM's) and how to identify them on a figurine.

   Outside of condition, trademarks are the most important factor in determining values and prices on M.I. Hummel figurines. A figurine such as Cinderella(mold 337) may be worth up to six times more in TM4 (trademark 4) than it is in TM7, for instance.    If you have acquired an older Cinderella, this information won't help you unless you know how to identify which trademark was used on your figurine.    Many people seem to be intimidated by having to learn the "Hummel marks."    Don't be one of them. It's really rather simple, and, if you don't already know the system, we're here to explain it.

   The Short Course

   While Goebel has used numerous different marks to stamp its factory "brand" on M.I. Hummel figurines, these have been consolidated by common usage into seven distinctive TM eras, beginning with the very first Hummel figurines in 1935 and ending with the figurines leaving the factory in Germany as you read this.    These TM eras are what you will find referenced repeatedly in this book as TM1, TM2, TM3, TM4, TM5, TM6 and TM7.    If a figurine you are examining has a back stamp under the base matching one of these trademark designs, you should have no trouble identifying the TM era in which it was produced.    If we do a skin-deep examination of the TM eras, here's what we'll find.

   TM1. This is the so-called crown mark era which identifies the earliest (and usually most valuable) Hummel figurines. The crown itself had been part of the company's trademark for decades, and the WG entwined initials honored William Goebel, a founder of the company.    The era extends from the beginning of production in 1935 through the World War II years to 1950, but...    In the 1946 - 1948 period after WWII, Hummel figurines were commonly marked simply with some sort of U.S. Zone mark, a postwar mark used to identify the items as coming from the U.S.-controlled region of divided Germany.    These U.S. Zone marked figurines, coming as they did within the crown era, are valued and priced as TM1 pieces.

   TM2. In 1950, Goebel officially adopted its now-famous full bee mark in honor of Sister Maria Innocentia Hummel, who had died four years previously.     The bumblebee in the mark represents Sister Hummel, Hummel being the German word for bumblebee. The V in which the bee flies stands for Verkaufsgesellschaft, or distribution company.    The TM2 era extends through 1959. Through 1955, the bee is quite large in relation to the V and is easily identified. From 1956 through 1959, it was diminished in size, and its placement in relation to the V was changed several times.    Common to all TM2 era pieces, however, is a bumblebee that looks like a bee. That is contrary to...

   TM3. The so-called stylized bee era begins about 1957 and ends officially in 1972. The bee now can be identified simply as a round dot with wings.    Though the trademark wasn't officially put aside until 1972, it wasn't used as often after 1964 as the concurrently running...

   TM4. This is the so-called three-line mark - always easily identified on a figurine by the use of the stylized bee inside V mark in combination with three short lines of text to the right of the V as you view it.    The TM4 era officially extends from 1964 to 1972. The three lines mark is said to be the prevalent mark in the years its use overlapped that of the stylized bee.    In 1972, it gave way to...

   TM5. This is sometimes called the last bee mark and at other times the Goebel bee mark. It was officially used from 1972 until 1979. It was adopted to help identify Goebel as the producer of the M.I. Hummel figurines, for the figurines had developed such a strong identity that many did not associate them with a maker.    This trademark varied little in the era in which it was used and can be easily identified by the word positioned above the letters be, and by the small text W.Germany centered beneath.    It represented the last use of the bee in any form, because in 1979 Goebel adopted...

   TM6. In use from 1979 through 1990, this mark incorporates the text Goebel with its now-familiar registration symbol and, again, the small text W.Germany centered beneath.    The purpose for the dropping the bee with V altogether hasn't been detailed, but I think it probably had to do with Goebel's desire to strongly promote other products it produced. By closely identifying Goebel with Hummel, it could be argued, the immense popularity of Hummel could be conveyed through the Goebel name to other Goebel-made figurines.    The change also came at a period that may have been the heyday in Hummel/Goebel popularity. In the late 1970s and early 1980s, retailers were fighting over available product, as the company could not produce enough to meet demand.    In 1989, the Berlin Wall fell and West Germany subsequently became Germany again. The small line of text in the trademark needed to be altered, so why not just create...

   TM7. For a combination of nostalgic and promotional reasons, Goebel in 1991 resurrected the Crown with WG initials mark, but incorporated it as the bottom tier in a three-tiered trademark topped by the large word Goebel, under which is the smaller word Germany to indicate country of origin.    This mark is found on figurines of contemporary production and is quite easy to identify.

   The Long Course

    Now, if the short course sounds a bit too simple to be true - if you think there might be a bit more to this trademark thing - you're right on. Here, we'll reexamine the TM eras to see how they relate to figurine values.    Warning: we'll deal somewhat in suppositions, so if you feel like you've been saturated with all the trademark data you can handle, it's time to tune out.

   TM1

   The crown era, as we have seen, begins with the first production of Hummel in 1935 and continues all the way through the decade of the 1940s.    It is documented that the earliest pieces were nearly always marked with what is called the wide crown WG mark in its incised form. (The WG initials in the company of a copyright symbol can also sometimes be found on the side or top of the base of a model.)    The incised mark is usually colorless    Soon thereafter - but we don't know exactly when - the company also began applying the mark with the use of a print under glaze (PUG) decal, commonly referred to as the stamped crown mark.    This printed or stamped crown mark will normally be either blue or black. (There is a very limited range of mineral colors which will print under glaze.)    Not infrequently, Hummel figurines will be found marked both with the incised and the stamped wide crown WG mark. These examples are referred to as "double crown" figurines. They are highly prized by advanced collectors and usually command a modest premium in price.    From 1937 to 1945, the wide ducal crown with Goebel mark (also called the narrow crown mark) became prominent for a while on certain Goebel products. However, the products did not normally include figurines, and the mark is thought to be rare to nonexistent on Hummel figurines.    Before advancing beyond the World War II years, there are factors which should be considered. They help explain why early crown-marked Hummels in good condition are so rare and valuable today.    We can start with the supposition that, in the 1930s, Hummel figurines were not produced in anything resembling the abundance of later generations.    Produced by a major manufacturer and of obvious appeal, the figurines were no doubt well received. However, the prewar 1930s period was not one of voluminous export from Germany to the U.S., where the M.I. Hummel figurines would later find their greatest market.    Moreover, it can be assumed that production was abated in almost direct proportion to Germany's military buildup of the late 1930s. This may be reflected somewhat in the history of the molds themselves.    A quick, rough count shows some 33 new models were credited to the year 1938. In 1939, this figure is 17. In 1940, it is nine.    In 1941, it is six, two of which were never produced. In 1942, it is three. In 1943, it is 11, eight of which were never produced.    In 1944, a single mold was produced, and it wasn't until 1948 that such production again hit double figures.    Figurines produced by Goebel during the World War II years bore the crown mark, but it's very unlikely they were produced in any abundance.    The point is that M.I. Hummel figurines made between 1935 and 1946 - never plentiful by today's standards - needed to survive the physical tumult of a world war, dislocations, shipping to the U.S., and more than 50 years of wear and tear in order to sit today on collectors' shelves looking new and fresh from the factory.    Not many did.    The remainder of the TM1 era - the post war years of 1946-1949 - formed a new, important epoch in the history of the Hummel figurine as a favorite American collectible.    Its mission to conquer Germany completed, the American military began the task of reconstructing its part of the country, which fortunately included the Coburg/Roedental area where the Goebel factory is located.    From 1946 to 1948, figurines intended for the U.S. market (for practical purposes, the only market of this period) were marked with several U.S. Zone, Germany back stamps, usually with print under glaze decal but sometimes stamped over the glaze.    The U.S. Zone, Germany mark definitely dates any TM1 Hummel to postwar production. Quite often, however, it is accompanied by one of the crown marks. And, it is even known to be accompanied on one figurine by both the crown mark and the full bee mark (TM2)!    The more important happening of the postwar period, however, was discovery of Hummel figurines by American servicemen and their families.    Oh, it wasn't just Hummels they discovered. With the war and the efforts to destroy Germany over, there came the time to study, appreciate, and enjoy the country's treasures.    This seeking of treasures coincided with a time when the German people had little in mind except restoring order to their lives. To most Germans of the period, nonessential possessions held little importance.    Americans bought cheaply and bartered favorably for classic Black Forest clocks, for wonderful antique German steins, for exquisite Meissen porcelain, for original works of art, for woodcarvings and ivory carvings - and, of course, for M.I. Hummel figurines.    For the most part, this is how the bulk of the early Hummels came to America - in the company of or shipped by American servicemen in the years of 1946 through about 1972. During this extended period, Germany's finest goods were cheap, and the German people were more than willing to part with them.    (Today, there are literally caravans of German antiques dealers scouring the U.S. for these clocks and steins and Meissen pieces and art and carvings and Hummels to send them back to a rapidly growing German/European market.)    Before we leave the TM1 era, there are still other important things to note.    First there was a period, say 1948-1950, when the crown mark was used without the U.S. Zone mark. Surviving examples of this marking will likely be indistinguishable from the pre-1946 pieces if they were produced in both periods.    Second, we discover early on that there is a major overlap in the TM eras. Recall, we said, "In 1950, Goebel officially adopted its now-famous full bee mark in honor of Sister Maria Innocentia Hummel, who had died four years previously."    However, it has been verified that the full bee mark was used on at least some pieces as early as 1948, two years before its supposed inception.    A few paragraphs back we alluded to a figurine marked with the crown, full bee and U.S. Zone marks. Note this occurred even though, officially, the U.S. Zone mark was not used after 1948 and the full bee mark was not used before 1950.    In his book, Luckey's Hummel Figurines and Plates, Carl F. Luckey does a fine job in explaining the progression of trademarks, and he says: "The dates of the early trademark changes are approximate in some cases, but are probably accurate to within 5 years or so." Five years or so!    Almost assuredly the crown mark appears on a number of figurines which were actually produced in 1950 or later. It appears frequently in combination with the full bee mark on a single figurine.    (Best rule of thumb for these TM1 + TM2 marked figurines: Price or value them on the TM1 scale as they are considered to be made during the crown era.)    Finally, you should understand that the TM1 era did not come to an abrupt end. At some point around 1950, Goebel was busy phasic in its full bee mark and shipping out the last supply of figurines bearing the crown mark. We do know that figurines first introduced after 1949 are not found with the crown mark.    A point made repeatedly in this book is that these phase-in periods - when one trademark was phased in to replace its predecessor - should be of great interest to advanced collectors because they created trademark scarcities and rarities.    In the TM1 era, for instance, it can be assumed that any figurine first introduced on the market in 1948 or later will fit somewhere between relatively scarce to quite rare in TM1.    After all, it could not have been in production long, and only so may pieces would have been manufactured before the total change to TM2, which we'll take up next.    (Footnotet: The crown mark was used for an unspecified period and on an undetermined number of pieces both in 1960 and in 1969-1971 in conjunction with the prevailing mark in order to protect Goebel's copyright of the mark. Examples on Hummels must be few as they seldom turn up.)

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Bing & Grøndahl was a Danish porcelain manufacturer founded in 1853 by the sculptor Frederik Vilhelm Grøndahl and merchant brothers Meyer Hermann Bing and Jacob Herman Bing.[1] The trademark backstamp for Bing & Grøndahl (B&G) porcelains is the three towers derived from the Coat of Arms of Copenhagen.[2] The company's Seagull dinnerware series became known as the "National Service of Denmark" in the 1950s when it was found in one tenth of all Danish households. In 1987 the company merged with its primary competitor, the Royal Porcelain Factory under the name Royal Copenhagen.

History

Bing & Grøndahl was founded on April 15 1853 by Grøndahl, who was a figurine maker for the Royal Danish Porcelain Factory, and the Bing brothers, who were art and book dealers. The factory was located on the corner of Vesterbrogade and Rahbek Allé in the Vesterbro area, at that time outside the city of Copenhagen, Denmark. Grøndahl initially began the company to produce bisque figurines modeled on the neoclassical sculptures of Thorvaldsen. The company extended production to include high style dinnerware and coffee sets.

The company's signature design, Seagull, was created in 1892 by designer Fanny Garde (1855-1925). The modest, classic design features flying seagulls against pale blue backgrounds, sea horse handles and shaded patterns of scales around the edges. Due to its popularity from the 1950s to the 1980s, the Seagull design was considered the "National Service of Denmark". During that period one out of every ten Danish households owned some of the dinnerware service.

In 1895, Bing & Grøndahl created the first in their series of Christmas plates. Designed with a traditional winter scene in cobalt blue and white, the plates have been released annually for more than 100 years. Noted as desirable by collectors, this series became responsible for a large portion of the company's production.

In 1987 the company merged with its primary competitor, the Royal Porcelain Factory under the name Royal Copenhagen.

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© 2010, used by permission

Epiphone traces its history to Anastasios Stathopoulo, who began making violins, lutes, and lioutos (traditional Greek instruments) in Sparta, Greece in 1873 (according to company literature from the 1930s, although he would have only been 10 years old). Stathopoulo’s family relocated to Smyrna, Turkey, in 1877m where he eventually established an instrument manufacturing business. To escape persecution, Anastasios moved his family to New York in 1903.

Stathopoulo’s instruments were labeled A. Stathopoulo. After his death in 1915, his sons Apaminondas (epi), Orpheus (orphie), and Frixo carried on the business, introducing the House of Stathopoulo brand in 1917. They incorporated in 1923 and concentrated on banjos, introducing the Epiphone Recording Series banjos (named after Epi) in 1924. They changed the company name to Epiphone Banjo Corporation in 1928.

Epiphone was best known in the 1920’s for highly ornamented Recording banjos. In the 1930s Epiphone became virtually the only banjo company to make a successful changeover to guitars as its primary product. Epiphone also supplied guitars for other distributors under the Sorrentino and Howard brands. The name of the company was changed in 1935 to Epiphone, Inc.

Epi Stathopoulo died of leukemia in 1943, and the company never fully recovered from his death or from the effects of World War II. C.G. Conn, a band instrument manufacturer and instrument distributor, acquired some control over Epiphone distribution and production in 1953 and moved production in part to Philadelphia, although labels continued to say New York. Orphie Stathopoulo regained control in 1955, but few instruments were made from 1956-57.

Chicago Musical Instrument Co., which owned Gibson, acquired Epiphone in 1957 and moved production to a facility near the Gibson factory in Kalamazoo, Michigan, Gibson introduced new Epiphone models at the annual trade show in 1958 and began shipping Epiphones in 1959. In 1960 production was moved to the newly expanded Gibson factory at 225 Parsons Street.

CMI was taken over by the ECL company in December 1969. Shipping records show a little over 800 Epiphones shipped from Kalamazoo in 1970. That same year, ECL (soon to be renamed Norlin) outsourced all Epiphone production to Japan. In 1979 Norlin began moving epi production to Korea, and by the mid 1980s almost all Epiphones were made in Korea.

Epiphone and Gibson (headquartered in Nashville since 1984) were acquired in 1986 by Henry Juskiewicz, David Berryman, and Gary Zebrowski. By the early 1990s, Epiphone had become a leading import brand. In 2002, Epiphone opened its own factory in China. The high-end Elitist line is produced in Japan. Occasional limited runs have been produced in Gibson’s Nashville and Montana Facilities.

Comments

Archtops: Recording models were Epiphone’s earliest high-quality guitars. They are hard to find in good condition, and are sought more by blues players and collectors than by jazz or folk players.

Pre-1937 Epis are of very high quality and generally much scarcer than later models. They are of considerable interest to collectors. They have a smaller body and a less-modern neck feel than later models and consequently are less sought by players for utility use.

Models made from 1937 (when body sizes were increased) to the end of New York Production in the mid 1950s are the most highly regarded by collectors. Most desirable are the professional-grade models on which the company built its reputation: Emperor, De luxe, Broadway, and Triumph. Hese models, along with Gibsons, are viewed by most collectors and musicians as the best factory-made archtop guitars ever produced. Low-end models are regarded as excellent instruments for serious amateurs.

Flat-tops: New York – made from flat-tops are of good quality, but they never achieved the recognition of Epi archtops or the flat-top guitars made by Gibson and Martin. Gibson-made flat-tops are fully equivalent in quality to similar Gibson models of the same period. Dreadnoughts are the most highly regarded, especially those from 1958-61 with New York-style necks and non-adjustable saddles. Most desirable is the Excellente, which is fancier than any Gibson dreadnought flat-top of its time and rivaled only in the Gibson line by the super jumbo J-200.

Electric archtops: New York – made epiphone electrics are interesting but generally are not nearly as highly regarded as the equivalent acoustics, which have solid carved tops and backs rather than the laminated construction of the electrics. Also, the electronics on New York Epis are not of high quality compared to Gibsons of the same period or to the later Gibson-made Epis. Consequently, New York Epi electrics bring less than Gibsons or equivalent Epi acoustics. Early Gibson Epis with New York pickups are of interest to collectors. Most hollowbody Epi electrics bring less than the equivalent Gibson models.

Double-cutaway thinbody electrics are the most highly sought, particularly the rare Emperor (66 total made) and the early blond-finish Sheraton. Sheratons with New York pickups are highly sought, though not for sound. The Riviera, though equal in playability and sound is not nearly as sought after. The Casino is associated with the Beatles and brings as much or more than the equivalent ES-330.

Solidbodies: Some collectors are interested in early solidbody models with New York pickups, but not for their sound. Later solidbodies with mini-humbucking pickups bring less money than their Gibson equivalents, which have standard size humbuckers. None is especially valuable, although the workmanship on Epiphones is equivalent to that of Gibsons.

Basses: Epiphone electric basses are not especially sought by collectors or players, although their workmanship and playability is fully equivalent to Gibson instruments of the same period. The embassy Deluxe is the Epiphone equivalent to the highly sought Gibson Thunderbird basses, and it has the potential to gain some of the appeal that Thunderbirds hold for collectors and players.

Epiphone upright basses are considered to be among the finest laminated-construction basses. It was Epi’s bass production capability that sparked Gibson’s interest in acquiring Epiphone in 1957. Although Gibson shipping records show a fair number of basses produced (644 total), Gibson-made Epi-basses are seldom seen.

Steel: Epiphone lap steels were good utility instruments for their time, but their pickups make them less desirable today than many Fender, Gibson, Rickenbacker, National, and Supro models. The models of greatest interest to collectors are those that are rare, aesthetically appealing, or historically interesting, such as the Model M, Rocco, and Varichord.

Mandolins: The Windsor, Windsor Special, and Artist mandolins, along with all Epiphone mandola and mandocello models, are extremely rare. They are of great interest to collectors as well as players. Of the models made in significant numbers, the relatively rare Strand garners the most interest from collectors. The Strand and Rivoli are regarded by players as quality instruments. The Adelphi is the most commonly seen Epiphone mandolin and is not highly regarded.

Banjos: Early models (pre-Recording Series) are well-made instruments, but because of their open back, short scale (tenors), large head, lighter tone ring, and lack of metal coordinating rod, their appeal is primarily historical. Recording Series banjos, particularly, those from 1927-c.35 with the metal coordinating rod and heavier flange, are regarded by tenor players to be among the finest of the period. They represent the golden age of the tenor banjo and are among the most ornate and most highly sought banjos of their period. Of the Gibson-made Epiphone banjos, only those with the Mastertone (Minstrel and plantation) have significant appeal.

Learn more at Gruhn Vintage Guitars

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As one of the leading buyers of sterling silver flatware in America, we get hundreds of requests for purchase offers every month. We love the opportunities, but sometimes the description of the collection lacks detail and thus delays our response. We respond most quickly to those who have included the information we need.

Caution: Before making your list, please verify that your flatware is marked STERLING (read our article about this here: http://www.soldster.com/learn-about/Article.aspx?id=199).

When preparing to sell your sterling silver flatware, please provide the following information in your inventory list:

Maker Name:
Pattern Name:
Inventory List:
Type                Length         Quantity           Solid Sterling or Partial Stainless
Teaspoon          6"                 12                    solid
Dinner Knives   9"                 12                    blades are marked stainless
Dinner Forks     7-1/2"           12                    solid SS
etc
etc

It is not enough simply to state the quantity of each piece you have. Within a given pattern, take PRELUDE for example, the size of the various pieces varied over the years, and this definitely affects value. We can often date a piece simply by its length!  So, size DOES matter when it comes to sterling flatware.

Armed with a well-prepared inventory list, we can make an intelligent offer without requiring you to ship your flatware to us first.

Good Luck! We look forward to the opportunity to do business with you!

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These large-sized "movable" 11-1/2" soft plastic figures of Johnny West and friends was one of the longest running action figure series in history. It was produced by Marx starting in 1965. The figures came with plastic accessories and clothing. Some very rare figures exist that were only available in England and Canada, making the series difficult for U.S. collectors to complete.

A number of box variations were used over the years, but the figures remained basically the same. For most of the years there was no uniform or logo or packaging style and series names such as Johnny West Adventure, Collection or Series appeared on some of the packages, or no series name was used at all. Unlike most other series, these packaging variations have no effect on value. The five Fort Apache Fighters figures are a sub-series. The four 9" figures are West kids, not a smaller scale line. The last figure in the series, Jed Gibson, a black cavalry scout, is the scarcest and most valuable figure in the series. There were also three figures that were only produced in Canada and/or England.

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In 1872, Aaron Montgomery Ward started the first general merchandise mail order company in America, locating it in Chicago, Illinois. His first catalog consisted of one page listing 163 items. Since then, many companies have adopted Ward's marketing innovation.

The early growth of the mail order business was phenomenal because mail order houses made a greater selection of low priced merchandise available to rural Americans.

Mail order catalogs had, in addition to farm supplies, such items as folding metal bathtubs, stereoscopes, men's collars and cuffs, ocarinas, high button shoes, and "indestructible" malleable iron toys. These catalogs were filled with so many fascinating items that they became known as "wish books."

As the population moved from farms into cities, the mail order houses changed their marketing methods. They began distributing catalogs and opening both catalog sales offices and retail outlets in urban areas. Fewer farm items and more personal and household products were added each year. Today, even with shopping centers within minutes of nearly everyone, the mail order industry is still booming. The ease and comfort of shopping at home appeals to many people.

Ranging in size from small firms that only sell a single product to the large general merchandise mail order houses, some cataloging nearly 135,000 items, thousands of companies use mail order.  In all its forms --- catalogs, newspaper and magazine ads, letters, radio and television commercials, and all other methods of securing orders which are then delivered by mail --- the mail order business accounts for about $30 billion in retail sales yearly.

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In the post-war era of innovation and progress, the story of Fender Electric Instrument Company emerges as a pivotal narrative in the evolution of modern music. Founded by Leo Fender and Doc Kauffman in Fullerton, CA, in the autumn of 1945, the company quickly positioned itself at the forefront of musical instrument innovation. This article delves into the history, impact, and legacy of Fender, exploring the key events and decisions that shaped its journey from a small workshop to a global musical icon.

The Early Years: Foundation and Innovation

The partnership of Leo Fender and Doc Kauffman, albeit short-lived, marked the beginning of what would become a legendary name in music. By early 1946, Kauffman had left, leaving Fender to single-handedly drive the future of the Fender Electric Instrument Company. The introduction of the Esquire and Broadcaster models in 1950, which would soon evolve into the iconic Telecaster, marked Fender as the first company to successfully market solid body electric guitars. This innovation was not just a commercial success but a cultural revolution, laying the foundation for a new era in music.

Revolutionizing the Music Scene

The release of the Precision Bass in late 1951 was perhaps even more revolutionary than Fender's solid body guitars. As the first commercially successful solid body bass, the Precision Bass offered musicians unprecedented volume, clarity, and ease of playing. This innovation, followed by the introduction of the Stratocaster in 1954, cemented Fender's reputation. These instruments were not merely tools of music but catalysts for the birth of new genres and the evolution of music as we know it.

Fender Amplifiers: The Unsung Heroes

Parallel to the success of its instruments, Fender's amplifiers played a critical role in the evolution of music. The rich, clear tones produced by Fender amps enabled artists to explore new territories in sound, contributing significantly to the rock and roll revolution of the 1950s and 1960s. The amplifiers, with their distinctive sound and reliability, became as integral to music as the guitars they were paired with.

The CBS Era: Expansion and Challenge

The acquisition of Fender by CBS in 1965 marked a new chapter for the company. Initially, the infusion of CBS's resources allowed for expansion and the introduction of new lines. However, this period also saw a perceived decline in the quality of Fender instruments, a sentiment that lingered through the 1970s. In an effort to modernize and revitalize the brand, CBS appointed Bill Schultz as president in 1981, leading to significant changes in production and the introduction of Fender Japan.

Rebirth and Global Expansion

The sale of Fender to a group led by Schultz in 1985 was a turning point, marking the beginning of the Fender Musical Instruments Corporation. Despite initial challenges, including the absence of US production facilities, the company rebounded with the launch of American Standard models and consolidated amplifier production. Today, Fender instruments are produced in facilities around the world, continuing the legacy of innovation and quality.

Legacy: The Pre-CBS Era and Beyond

For many collectors and players, instruments from the pre-CBS era represent the pinnacle of Fender's craftsmanship. The demand for these vintage instruments, particularly those in custom colors, extends even into the late 1960s models. While lower-end models and certain lines like the Coronados have not garnered the same acclaim, rare models such as the Montego and LTD archtops hold a special place among collectors.

The Evolution of Fender Basses

The Precision Bass set a new standard for electric basses, a legacy that continued until the Jazz Bass emerged as the preferred sound in the 1990s. Early models of both the Precision and Jazz basses are highly sought after by collectors, reflecting the enduring impact of Fender's innovations on music.

Material Innovation: Bakelite and Beyond

Fender's use of materials like Bakelite, or Phenolite for early pickguards, and the transition to rosewood fingerboards on maple necks, exemplify the company's innovative approach to instrument design. These material choices not only influenced the aesthetic and functional aspects of the instruments but also contributed to their distinctive sounds. In conclusion, the history of Fender Electric Instrument Company is a testament to the power of innovation, vision, and resilience. From its humble beginnings in a small California workshop to its status as a global icon, Fender has left an indelible mark on the world of music. Through its pioneering instruments and amplifiers, Fender has not only shaped the sound of generations but has also played a central role in the evolution of musical expression itself.

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Your good friend eBay will help you pay your taxes starting in 2011. Hey, they want to help you pay your fair share. This from a quote on the eBay website in their Community Forums section:

"For Tax Year 2011, eBay and PayPal are going to send out a form telling you and the IRS how much money you ran through them. The official threshold is $20k, but I would imagine PayPal will take the position that they report based on a much lower number, much like many corporation do now w ith 1099-Misc." (http://forums.ebay.com/db1/topic/Accounting-Assistant-Record/1099-Misc-Tax/510074131)

If you thought selling on eBay was the best way to get top dollar for your stuff, 2011 may be the year to reconsider. The cost of selling on eBay has steadily risen. Now, with the added requirement of calculating capital gains on one-time sales, it may no longer make sense to sell on eBay. If you have inherited or owned an old coin collection for many years, your "cost" is very low. Let's say you inherited a coin collection. Your cost is zero. You sell it on eBay for $20,000. After paying eBay and PayPal commissions and fees, you net $16,000 (roughly 20% in fees and commissions is pretty much standard now on eBay if you set a minimum or Buy-It-Now price). But wait, a year later at tax time you get a 1099 in the mail from eBay, a copy of which they have also sent to the IRS. Now you must calculate your capital gain tax. On a $16,000 net sale, at the 35% capital gain rate (standard), you will have to mail a check to the IRS for $5600.00. On that $20,000 sale, you actually get to keep only $10,400. You kick yourself because you turned down a cash offer from a buyer earlier in the year for $15,000 because you thought you could get more on eBay.

It now makes more sense to sell direct to an internet buyer who does not report to the IRS. There is no reason why anyone should expect to pay capital gains on one time, person-to-person sales. If you can find a trustworthy internet or local buyer, you are much better off selling direct than selling through a large marketplace like eBay.

eBay does not advertise or alert you to the fact that they are tracking your sales. The IRS keeps a very close watch over the eBay marketplace now that it has grown so large. Sellers should beware, Big Brother is watching. And eBay is helping.

This toy line was based on the popular 1983 to 1987 NBC television series starring George Peppard as Col. John "Hannibal" Smith, leader of the team, Dirk Benedict as Templeton "Face" Peck, Dwight Schultz as "Howlin" Mad Murdock, and Laurence Tureaud as B.A. Baracus. Mr. Tureaud was much better known as the gold-chained star of screen, toy, comic book, trading card and motivational speech, "Mr. T". Galoob must have had a good thing going with these toys as they did them in both 3-3/4" and 6-1/2" sizes. These figures don't show up often and the rarest of them all is the last of the 6-1/2" line, Amy A. Allen, based on the female character portrayed by Melinda Culea.

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The Danbury Mint is a division of MBI, Inc. that markets a variety of collectibles. Danbury Mint historically marketed high-quality medals and ingots produced by others exclusively for them. The company also sold numerous other collectible offerings including plates, bells, sculptures, etc. Danbury Mint is well known for their 1:24 scale die-cast vehicles, including a now discontinued James Bond's DB5.

Their licenses include: Boyds, Coca-Cola, John Deere, Dept 56, Dr. Seuss, General Motors, Goebel, King Features, Looney Tunes, Major League Baseball, Mars, Inc., NFL, Gary Patterson, Peanuts, Pillsbury, Elvis Presley, Red Hat Society, The Walt Disney Company and Twentieth Century Fox Film Corporation.

History

The Danbury Mint was founded in Westport, Connecticut by Ralph Glendinning and Ted Stanley in 1969, as a subsidiary of Glendinning Companies. Their first product was a series of medals commemorating the Apollo 11 moon landing. The Danbury Mint has since gone on to capture the legacy of landmark events, products and people though collectible figurines, collector's plates, dolls, and die-cast cars. Those legacies include the inauguration of President Barack Obama, Princess Diana, Shirley Temple, corvettes, Hummel figurines, and Christmas gold ornaments.

Danbury's first sister division was formed in 1970 under the name Postal Commemorative Society, recently changed to PCS Stamps & Coins. In 1973, both divisions were incorporated as MBI. In 1975 Easton Press was formed as MBI's third division, and MBI was spun off from Glendinning Companies as a separate company.

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There are some key facts buyers need to know when making a bid for your sterling silver holloware and serving pieces. This article covers the basics.

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From the mid-1960s to the late 1980s, The Franklin Mint issued limited edition coin and ingot sets made of sterling silver, bronze, pewter, and sometimes gold-plated sterling silver. The sets were sold using a subscription model, where each month the subscriber would receive one or two coins to add to their set. At the end of the subscription period, the collection would be complete. The sets were also sold as a complete set, without the need to subscribe.
Today, with the value of silver and gold having reached more or less the same inflation-adjusted value they had in the late 1970s, collectors are wanting to learn the value of these sets. Herewith, we provide a list of the top 10 most valuable Franklin Mint silver sets. Word of warning: these sets have value only when they are made of sterling silver or gold-plated sterling silver. Often, an "economy priced" set was issued made of bronze or pewter, and these versions have very little if any value.

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Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

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1. The Franklin Mint Presidential Ingot Collection, 5000 Grains Edition

According to our database of Franklin Mint sets, this set of 36 sterling silver ingots is the most valuable of all the silver sets issued by The Franklin Mint. A 2500 grain set and a one ounce set were also produced in sterling silver. You can check the value of this set in our FRANKLIN MINT PRICE GUIDE.

2. The Franklin Mint History of USA Medals Collection

Each of these sterling silver medals is 45 millimeters in diameter (about 2 inches). The complete set is 200 medals. This series of 200 medals provides a comprehensive history of the U.S. since the Declaration of Independence in 1776. Each medal recalls a different year by depicting the 'event of the year' selected from those listed on the reverse. The set was housed in a large wooden box with sliding shelves for the medals, 20 medals per shelf.

3. The Franklin Mint 100 Greatest Masterpieces Collection

This set of 100 medals was produced in a regular sterling silver edition and also a gold-plated sterling silver edition. The gold-plated version is slightly more valuable than the regular sterling edition, although some buyers will try to convince you otherwise. Each medal depicted a famous artwork through the ages. The set was housed in a beautiful mahogany display box with shelves. Although quite valuable, this is one of the more common sets.

4. The Franklin Mint Centennial Cars Ingot Collection

Celebrating 100 years of automobiles, this set of 100 sterling silver ingots was produced from 1974 - 1978. Each ingot measures roughly 1.25" X 2.25". The set was housed in a beautiful solid oak trunk.

5. The Franklin Mint History of Mankind Medals Collection

The set was issued from 1974-1982. The complete set contains 100 medals. Each medal is a 51 millimeter Proof, 24K gold electroplate coating on sterling silver. The most important events in the history of civilization were commemorated in this collection.

6. The Franklin Mint 50 Greatest Sailing Ships in History Ingot Collection

Museum Collection. Complete set of 50 ingots. Each measures app. 2-1/2" by 1-3/4". The 50 greatest sailing ships of the past 50 centuries were honored in this collection of 50 ingots.

7. The Franklin Mint Bicentennial History of the United States Ingots Collection

This set of sterling silver ingots included 100 different pieces commemorating great events in American history.

8. The Franklin Mint Bicentennial Bowl

14 inches in diameter, 7 inches high. Huge and solid sterling silver.

9. The Franklin Mint Masterpieces of Thomas Gainsborough Ingots Collection

This was a set of 100 gold-plated sterling silver ingots issued to commemorate the great works of British artist Sir Thomas Gainsborough. We believe this set was issued only in Great Britain and the UK.

10. The Franklin Mint Flags of the United Nations Collection

Complete set of 135 large ingots, certified on March 15, 1974. Each ingot shows the official flag of a country that is a member of the United Nations at that time. The full size set was issued when there were 135 members. A small so-called "mini" set was issued later which contained 142 tiny silver ingots, each about the size of a fingernail. The mini set is much less valuable than the large set.

This list includes only sterling silver sets. A number of very valuable sets were produced in 24 karat gold.

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

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One of the most common questions collectors ask is, "How do I take care of my coin collection?" How to store and care for your valuable coins is a subject that should be of interest to every beginning coin collector. After all, you can't just toss your coins into an old bottle or cigar box and call it a collection. As a serious numismatist, you should handle each valuable coin in your possession carefully and preserve it in the condition in which you first received it. For example, when examining a coin you should hold it by its edges over a soft surface, In this way should you accidentally drop the coin, no harm will be done. A coin should never be touched or held by its faces,  obverse or reverse, for the oil and acid on one's skin can leave fingerprints and possibly cause damage.

When you choose a method to store your coins, you should find a form that not only protects your coins but also makes them easily accessible and visible to you. The most frequently used method is the familiar Whitman folder. This is the least expensive and easiest method of storing coins as a collection. These folders have die-cut holes in the cardboard, which are labelled with date, mint mark, mintage, and other information. Thus, when you've acquired a particular coin, you simply insert it into the proper hole with a little thumb pressure (use protective gloves when doing this).

The latest and most protective of the Whitman coin holders offers both visibility and protection. The folders have thick cardboard that is just a little thicker than the depth of the coin which it is designed to hold. To hold the coin and protect it from rubbing in the album, clear plastic sides are provided (top and bottom).

Another widely used means of storing individual coins, both for deals and collectors, is known as the 2x2. This is a hinged piece of cardboard, die-cut with a hole of coin size with a thin piece of plastic glued in. A coin is inserted between the layers of cardboard, which is then folded over and stapled or taped shut, thus effectively protecting the coin. Both front and back of the coin are easily viewed.

There are also plastic Lucite hardshell holders, slabs, and a myriad array of other storage devices. A search of the internet will find many retailers of coin storage products. Good luck!

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United States Coins have been issued at several locations, called "Mints", around the United States. A tiny letter, such as D, or S, or CC, is sometimes stamped on the coin to indicate which mint produced the coin. These are called Mint Marks and are a very important part of coin collecting. Sometimes, the mint mark alone determines the value of the coin.

How to find Mint Marks: The coin's Mint mark, if any, is small and difficult to find. The Mint mark  is always a single letter with the exception of the Carson City Mint, which is "CC". The location of the Mint mark varies depending upon the coin design and the coin's date. The chart that follows shows the exact location of the Mint Mark on most older USA coins.

WARNING: When a big price difference depends upon the Mint mark, the coin should be carefully examined for alterations. Mint marks can be changed, added, or removed to defraud collectors.

NOTE: Obverse means the front (heads) of the coin, and Reverse means the back (tails) of the coin.

PENNY  (Indian Head, 1859-1908) ---  Reverse, below wreath
PENNY  (Lincoln Wheat, 1909-1958) ---   Obverse, below date
PENNY  (Lincoln Memorial, 1959-today) ---   Obverse, below date 
THREE CENT (silver) ---  Reverse, at right of C
FIVE CENT NICKEL (Liberty Head) ---  Reverse, at left of cents below dot
FIVE CENT NICKEL (Buffalo) ---  Reverse, below 5 cents
FIVE CENT NICKEL (Buffalo, 1942-1945) ---  Reverse, large mint mark above building
FIVE CENT NICKEL (Jefferson, 1938-1964) ---  Reverse, at right of building
FIVE CENT NICKEL (Jefferson, 1968-today) ---  Obverse, below date
HALF DIME (Liberty Seated) ---  Reverse, above or below bow of wreath
DIME (Liberty Seated) ---  Reverse, Reverse, above or below bow of wreath  
DIME (Barber) ---  Reverse, below wreath
DIME (Mercury) --- Reverse, at right of ONE
DIME (Roosevelt, 1946-1964) ---  Reverse, at left of torch
DIME (Roosevelt, 1968-today) ---  Obverse, above date
TWENTY CENTS  --- Reverse, below eagle
QUARTER (Liberty Seated) --- Reverse, below eagle
QUARTER (Barber) --- Reverse,  below eagle
QUARTER (Standing Liberty) --- Obverse,  at left of date
QUARTER (Washington, 1938-1964) --- Reverse,  below wreath
QUARTER (Washington, 1968-today) --- Obverse,  at right of ribbon
HALF DOLLAR (Capped bust, reeded edge) --- Obverse, above date
HALF DOLLAR (Liberty Seated) ---   Reverse, below eagle
HALF DOLLAR (Barber) ---   Reverse, below eagle
HALF DOLLAR (Liberty Walking, 1916-1917) --- Obverse, below motto
HALF DOLLAR (Liberty Walking, 1917-1947) --- Reverse, below leaves at left
HALF DOLLAR (Franklin) --- Reverse, above yoke of bell     
HALF DOLLAR (Kennedy, 1964) --- Reverse, at left of branch
HALF DOLLAR (Kennedy, 1968-today) --- Obverse, above date
DOLLAR (Eisenhower) --- Obverse, above date 
DOLLAR (Liberty Seated) --- Reverse, below eagle
DOLLAR (Morgan) --- Reverse, below wreath
DOLLAR (Peace) --- Reverse, below eagle
DOLLAR (Susan B. Anthony) --- Obverse, at left of head 
DOLLAR (Trade) --- Reverse, below eagle  
GOLD $2.50 QUARTER EAGLE (Classic Head) --- Obverse, above date
GOLD $2.50 QUARTER EAGLE (Coronet) --- Reverse, below eagle
GOLD $2.50 QUARTER EAGLE (Indian Head) --- Reverse, at left of fasces
GOLD THREE DOLLARS  --- Reverse, below wreath
GOLD $5 HALF EAGLE (Classic Head) --- Obverse, above date
GOLD $5 HALF EAGLE (Coronet, 1839) --- Obverse, above date
GOLD $5 HALF EAGLE (Coronet, 1840-1908) ---  Reverse, below eagle 
GOLD $5 HALF EAGLE (Indian Head) --- Reverse, at left of fasces
GOLD $10 EAGLE (Coronet) --- Reverse, below eagle 
GOLD $10 EAGLE (Indian Head) --- Reverse, at left of fasces
GOLD $20 DOUBLE EAGLE (Coronet) --- Reverse, below eagle 
GOLD $20 DOUBLE EAGLE (St. Gaudens) --- Obverse, above date         

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Kirk Steiff Corp. began in Baltimore Maryland in 1815 as Kirk & Smith. For the next 100 years, generations of the Kirk family operated the firm. Founder Samuel Kirk introduced the Repousse pattern in 1828. The Stieff Co. of Baltimore acquired the Kirk Co. in 1979.

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Easterling Co. began in Chicago in 1944. Sterling assets were sold to the Westerling Co. in 1974, with Gorham producing the patterns. Some pattern names: American Classic, Helene, Horizon, Rose Spray, Rosemary, and Southern Grandeur.

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Frank W. Smith Silver Co. Inc. Began in  1886 in Gardner, Massachusetts. The firm was sold in 1917 and ceased silver manufacturing in 1930. Company marks include a lion on a crescent moon entwined with the letter S, an S in a circle flanked by conical shapes, and an S surrounded by double scrolls. A subsidiary of Reed and Barton bought the silver assets in  1958, and the flatware manufacturing was moved to North Attleboro, Massachusetts. Some pattern names: American Chippendale, Chippendale-Old, Countess, Federal Cotillion, Fiddle Shell/Alden, Fiddle Thread, George VI, Lion, Newport Shell, Pilgrim, and Woodlily.

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Frank M. Whiting Co. began making silverware in  North Attleboro, Massachusetts in 1878, when it was known as Holbrook, Whiting & Albee. The company became a part of Ellmore Silver Co in about 1940, and that firm went out of business around 1960. Crown Silver Co. of New York later acquired the Whiting dies. The company mark of a griffon and a shield with a W was used up to 1896, and  later a W in a circle flanked by stylized leaves. Some pattern names: Adams, Athene/Crescendo, Botticelli, Georgian Shell, Lily/Floral, Neapolitan/Kings Court, Princess Ingrid, Rose of Sharon, Talisman Rose, Troubadour and Victoria/Florence.

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Georg Jensen's silver business opened in Copenhagen, Denmark, in  1904 and became one of the leading producers of silverware in the world. The mark on sterling is a wreath topped by a crown and the words Georg Jensen Inc. An American company, Georg Jensen Inc. USA started in New York in 1941 and ceased production about nine years later. Some pattern names: Acanthus, Acorn, Beaded, Bernadotte, Blossom, Cactus, Caravell, Continental, Cypress, Old Danish, Parallel, and Pyramid.

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With the billions of U.S. Coins in circulation, it is quite possible  that a very valuable coin could come into your possession. Without realizing it, you might spend an innocent looking penny worth hundreds of dollars or even thousands of dollars. And you'd probably kick yourself for buying a candy bar with coins that later turned out to be worth a fortune. You can prevent this kind of mistake by using this website as your guide and "coin mentor."

To begin with, it's a good idea to understand the factors that make any coin valuable. These are: Scarcity, Condition and Demand. Just because a coin is old does not necessarily mean it is valuable. It's the old story of Supply and Demand. Scarcity (or rarity) is probably the most important factor in determining the value of any coin (see our price guide pages for more on this). Next important factor is Condition. Coins are available in a wide variety of states of preservation, from barely identifiable to crisp, new "uncirculated" condition. A coin, like anything else, is worth more in new condition that in worn condition. Be sure to read our article on Coin Grading. There are terms and criteria used by dealers and collectors in grading condition. The last factor in determining a coin's worth is Demand. In other words, the value of any particular premium quality coin is based upon the number of collectors who want that specific coin.

You are welcome to peruse the information of this site, in our Learning Center and our Price Guide areas. Arm yourself with information. Spend some time here learning about the hobby. Spend some time so you have a good groundwork to build from.

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Jenkins and Jenkins, established in 1908 in Baltimore, Maryland, was the successor to a silver manufacturer known as A. Jacobi, which was started in  1879. The Schofield Co. of Baltimore bought the tools and dies of Jenkins & Jenkins in about 1915. Some pattern names: Repousse.

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Lunt Silversmiths was established in  1901 in Greenfield, Massachusetts as Rogers, Lunt & Bowlen Co, after the failure of the A. F. Towle & Son Co, and began using the Lunt Silversmiths trademark in  1935. It later acquired the assets of the King Silver Co and the Richard Dimes Co. Some pattern names: Alexandra, American Directoire, American Victorian, Belle Meade, Carillon, Charles II, Chased Classic, Chatelaine, Colonial Manor, Colonial Theme, Contrast, Coronet, Counterpoint, Delacourt, Early american-Engraved, Early American-Plain, Early Colonial, Eloquence, English Shell, Festival, Floral Lace, Granado, Lace Point, Madrigal, Mary II, Memory Lane, Mignonette, Modern Classic, Modern Victorian, Monticello, Mount Vernon, Nellie Custis, Pendant of Fruit, Raindrop, Rapallo, Regency, Rondelay, Rose Elegance, Spring Serenade, Starfire, Summer, song, Sweetheart Rose, and William & Mary.

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