Burnishing is a critical finishing process in metalworking that enhances the durability and aesthetic appeal of electroplated articles. This technique involves the physical polishing of electro deposits, which are typically composed of numerous small crystals. These crystals, while forming a cohesive layer, leave minute intervals between them, resulting in a surface that reflects light in multiple directions. Through burnishing, the deposited metal is not only smoothed but also compacted into the pores of the underlying metal, significantly hardening the surface.
The Process and Its Impact
The primary goal of burnishing is to increase the wear resistance of the electroplated layer. By mechanically polishing the surface, burnishers effectively force the deposited metal into any existing pores, thereby eliminating surface irregularities and enhancing the bond between the electro deposit and the substrate metal. This post-deposition treatment is crucial for ensuring that the final product can withstand physical wear and tear over time.
Enhanced Durability
The impact of burnishing on electroplated articles is profound. It has been observed that burnished items, particularly those plated with precious metals like silver, exhibit a significantly longer lifespan compared to their non-burnished counterparts. In fact, with an equal amount of deposited silver, a burnished article can last twice as long as one that has not undergone this finishing process. This increased durability makes burnishing an invaluable step in the production of high-quality, electroplated items.
Conclusion
Burnishing not only improves the physical properties of electroplated articles but also contributes to their aesthetic quality by producing a smoother and more uniform surface. This enhancement in both durability and appearance underscores the importance of burnishing in the field of metalworking, ensuring that electroplated items can meet the demands of both form and function.
TV Guide was one of the most widely circulated magazines of all time. As a result, they are very common. Most have little or no value, but there are valuable exceptions to this rule. Some issues with significant value typically have cover photos of famous movie or television stars, or covers of special interest.
TREASURE — iGuide's List of Most Valuable TV Guides
There are many other valuable to semi-valuable TV Guides besides those listed below. If you want to know if yours are valuable, you need an iGuide Appraisal Report
April 3, 1953 — Volume 1 Number 1, the very first issue!
Sept. 25, 1953 — George Reeves of Adventures of Superman
July 17, 1954 — Roy Rogers of The Roy Rogers Show
October 23, 1954 — Walt Disney on Disneyland
September 8, 1956 — Elvis Presley, The Plain Truth About Elvis Presley
March 26, 1966 — Adam West of Batman
March 4, 1967 — William Shatner and Leonard Nimoy of Star Trek
March 26, 1966 — Adam West of Batman
If you have any of those listed above, it would be smart to get a free iGuide Appraisal Report
Common issues from the 1950s, and certain issues from the 1960s and 1970s have some minor value, usually less than $10 retail and $4 wholesale in almost new condition.
Trash
The VAST majority of old TV Guide magazines can be bought in large lots on eBay for 50 cents to $1 each depending on age. Modern issues from the 1980s and up are almost worthless.
Condition is key
As with all collectibles, the condition of the magazine is very important. If it's in 'like new' condition, it is worth 10 times more than the same issue in heavily worn condition.
Summary
With the exception of certain special issues from the 1950s, 60s and 70s, there is very little demand for old TV Guide magazines.
For the purposes of this site, Hummel art is any fine, decorative, or useful art form adapted from an original creative work by Berta Hummel (later Sister Maria Innocentia Hummel). The counterparts of these originals have appeared in numerous forms for over forty years. The three dimensional figurines are the most famous conceptions of her pastels and paintings.
Her original works are all over the world. Some of them are in the house where she was born in 1909, and in which her mother and brother still live. Primarily, these are the ones she drew before entering the convent in 1933. More of her original drawings and paintings are in the Franciscan Convent at the Seissen in West Germany. Dr. Herbert Dubler of Verlag Ars Sacra, Josef Muller of Munich wrote that they owned most of the originals for which they hold the two-dimensional rights. Some originals also exist which Sister Hummel gave as gifts during her relatively short life. Recently an original Sister Hummel made in 1939 at the request of some young girls surfaced in St. Louis.
The three-dimensional conversion of her originals into figurines was so well executed under her supervision while she was alive that they are now classed as works of art themselves by the U.S. Department of Commerce.
Most of the remaining Hummel art is two-dimensional expressions of her originals produced by photomechanical processes to preserve line and color. In this category are prints, pictures, calendars, and cards.Transfers have also been made to apply to articles such as music boxes, plates, bells, eggs, candles, and innumerable other collectibles.
Bas-relief is another form into which Sister Hummel's pictures have been adapted, principally for a series of annual plates. Production of these plates has usually been limited to the year of issue. Prints, pictures, greeting cards are a few of the two dimensional replicas that are very popular even in modern times.
Hummel-like art is the term used in this article for items often referred to as reproductions. This broader term is used because variations are so wide that there is a question of whether or not they were inspired by Sister Hummel's work. Some appear to have been more likely issued with the objective of capitalizing on the worldwide appeal of her work and the approved adaptations. These "unauthorized" reproductions are usually dissimilar enough to avoid infringing on existing copyrights. Some Hummel-like examples are in two-dimensional cards and prints, but most of them are figurines of varying quality and appearance. Currently only figurines licensed by the Franciscan Convent in Seissen to be produced by the W. Goebel Company of West Germany are genuine "M.I. Hummel" figurines. Each one must be so marked in an incised facsimile of Sister Humme;s script signature. Any piece without this signature is either Hummel-like, Hummel Inspired, a reproduction, or other imitation.
In order to make a "sight unseen" bid for your old magazines, a magazine buyer needs to know certain key information. YOU SHOULD INCLUDE THIS INFO IN YOUR INITIAL LIST! If you are new to old magazine 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 magazines, you should make an inventory list. It will be the first thing any magazine buyer will ask for.
IMPORTANT: YOU SHOULD INCLUDE THE FOLLOWING INFO IN YOUR LIST!
TITLE (always on the front cover; example: NATIONAL GEOGRAPHIC) ISSUE DATE (always on the front cover, 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)
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 LabelJosephine 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 BuyerJon 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 (xlixk the link above.
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!
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.
The Franklin Mint issued many coins for sovereign nations, and of those, a significant number were made of platinum rather than gold or silver. The Franklin Mint also produced several so-called 'mini' coins made from platinum. And, in a few instances, Franklin Mint made several commemorative medals sets made of platinum. iGuide's research has determined that the purity level of these platinum medals is about 90% pure. These platinum coins are valued like other platinum bullion coins, they are worth a percentage of the metals or scrap value. They do not have 'rarity' or 'collector' or 'numismatic' value.
A large and active market exists for original Disney animation art. Prices vary widely, from a few dollars for a common print, to tens of thousands of dollars for early original production cels with hand-painted master backgrounds. A wide variety of offerings can be found on auction sites such as eBay and at major auction houses like Heritage Galleries and Profiles in History. But, what are the relative values of lithographs, sericels, serigraphs, production cels, and common prints? Which is more valuable typically, a sericel or a serigraph? How can one tell whether they have an original production cel or merely a sericel?
GOLD LABEL PRODUCTION CELS
Starting around the year 1955, and continuing until sometime around 1966, Disneyland had a shop called ART CORNER where they sold, among other things, original Disney production cels. In the hobby, these are known as GOLD LABEL production cels, because on the back of each one a gold sticker can be found that reads, 'THIS IS AN ORIGINAL HANDPAINTED CELLULOID DRAWING ACTUALLY USED IN A WALT DISNEY PRODUCTION. Released exclusively by DISNEYLAND, 1313 Harbor Blvd, Anaheim California. Copyright Walt Disney Productions.' The text on the label may have slight variations over the years, but the label text is almost always printed in red ink on a gold label. Many of these authentic production cels make reference to the Disneyland Art Corner, as in 'RELEASED EXCLUSIVELY BY THE ART CORNER OF DISNEYLAND'.
These cels are very desirable in the marketplace, and can have a value ranging from a low of one hundred dollars or so, and up to thousands of dollars, depending on the scene, the quality, and the desirability of the film and characters in the cel. A hand painted Master Background as part of the piece also adds value.
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.
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
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.
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.
Sterling silver is not pure. It is 92.5% silver and 7.5% copper or other base metal. Pure silver is 100% silver (or 99.9% which is close enough to pure). Many new collectors think sterling silver is the highest and greatest form of silver, but it is not. It is only 92.5% pure.
Also, little known is the fact that, by law, an error margin of 10% is allowed in the sterling alloy, so that quite often, when tested, a piece marked STERLING may actually only test our as 91% pure.
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.
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.
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 Hamilton 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 interernet 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 Hamilton 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.
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.
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 interernet 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.
Many folks have collections of Hamilton Mint collectibles, either from collecting themselves or through inheritance. The burning question in the minds of many is: "Do HamiltonMint collectibles have value?" The answer, like so many in life, is "It depends."
The HamiltonMint was one of the largest issue of limited edition collectibles in the world, but went out of business in the late 1970s, after a bankruptcy.
HamiltonMint issued collectibles in many categories, including dolls, coins, ingots, plates, knives, die-car cars, jewelry and much more.
The issue price of HamiltonMint editions ranged from just a few dollars to hundreds of dollars each. Did these items hold their value, or go up?
The answer is that many are worth much more than original issue price, while others are not. Those that have enjoyed significant price appreciation are those sets made of precious metals such as sterling silver or gold. Otherwise, for items like dolls, plates, and knives, prices have not held, and in fact many of these items can be bought for a fraction of their original issue price.
So, the answer to the question posed at the begging of this article is that those collections made of silver or gold have good value today, often more than original issue price, while those not made of precious metals can be bought for a fraction of original issue price.
The moral of this story is "You win some, you lose some."
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.
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.
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.
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.
For collectors, the allure of an item is often tied to its rarity, historical significance, or enduring cultural impact. Unfortunately for Penthouse 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 Penthouse was once a popular and provocative magazine, older issues would hold significant value today. The short answer? No, they don’t—with the possible exception of the very first issue. Even in pristine, "like new" condition, Penthouse magazines have little, if any, market value.
Overproduction: The Supply Is Too High
The primary reason Penthouse magazines aren’t valuable is simple: they were mass-produced in high numbers over several decades. 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—Penthouse magazines score a dismal D, indicating that demand is practically non-existent.
Content and Stigma
The explicit nature of the content in Penthouse magazines also affects their desirability. Unlike other vintage publications, such as Playboy, which occasionally attract collectors for their cultural or artistic significance, Penthouse has never managed to achieve a similar reputation. Many potential buyers shy away from adult content collections, either due to personal preferences or because they don’t see the magazines as an item worth displaying or trading.
The First Issue Exception
As mentioned, the first issue of Penthouse 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.
If you have what you think may be a rare magazine, it would be wise to get a free iGuide Appraisal Report
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 Penthouse magazines due to their explicit content. 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 Penthouse had its moment of cultural relevance, that hasn't translated into lasting collectible value. The oversaturation of copies, the nature of the content, and the lack of significant demand all contribute to the magazine’s low standing in the collectible world. For most collectors, Penthouse 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 Penthouse 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.
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 7th 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 3rd 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 7th 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.
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.
If you have what you think may be a rare magazine, it would be wise to get a free iGuide Appraisal Report
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.
C9 = N-
Nearly New, but has been played. No visible signs of wear or damage.
C8 = E+
Plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of sleeves.
C7 = E : Excellent
Still very shiny, near new looking, with no visible signs of wear, but a few inaudible scuffs and scratches.
C6 = E-
Still shiny but without the luster of a new record, few light scratches.
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.
C4 = V : Very Good
Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive.
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.
C2 = G+
Grey throughout but still serviceable. Music begins to sound muffled. Heavy scratches.
C1 = G : Good
Quite seriously worn and scratched, but music level is stillhigher than surface noise.
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.
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
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.
Henry Birks & Co. was established in Montreal, Quebec, in 1879, and became Henry Birks & Sons in 1893. It acquired Gorham Co. of Canada Ltd. in 1907. The company used date letters as early as 1898, and later adopted hallmarks, which covered the years 1904 to 1962. Some silver patterns: Chantilly, George II Plain, Louis XV, and Old English.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
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.
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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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.
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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.
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.
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.
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.
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.
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.
B-
5 on a scale of 1 to 10. VG- (Very Good Minus)
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.
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.
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.
F
1 on a scale of 1 to 10. P (Poor)
Extremely worn, possibly incomplete, although such should be noted.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Additional Grading Standards and Desirable Guns
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.
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 1928-9, 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 on-going 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 possibly 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
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.
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
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.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
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.
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.
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.
B+
UNUSED NEAR MINT (8). NOT SEALED. Has some distracting contact marks or blemishes in prime focal areas. Luster may be impaired.
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.
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.
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.
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.
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.
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.
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.
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?
There are some key facts buyers need to know when making a bid for your platinum coins or platinum rings. This article covers the basics.
COINS
Platinum coins are bullion coins. They do not have "rarity" or "collector" value. The value they have is in the platinum content. The key facts a buyer needs are:
Country (example: Canada)
Denomination (example: $100)
Weight (if known) (example: 1 troy ounce)
Purity (if known) (example: 999 fine)
RINGS & JEWELRY
Most platinum buyers do not want diamonds and other gemstones. They just want the platinum.
Check The Stamping
Is the piece stamped with a purity stamp? If not, most buyers will not touch it unless they have it in hand and can test it with an acid test. Platinum is usually at least 95% pure, the only purity that can be stamped “Platinum,” although it can also be stamped “950 Plat” or 950 Pt.” If a Platinum ring is 90% pure platinum, it will be stamped “900 Plat” or “900 Pt.” If a Platinum ring is 85% pure platinum, it will be stamped “850 Plat,” or “850 Pt.”
Jewelry that contains at least 50% pure platinum and at least 95% platinum group metals (platinum, palladium, iridium, osmium, rhodium, and ruthenium) is stamped with the platinum content and then the content of the other metal. For example, “600 Plat 350 Irid” or “600 Pt 350 Ir.” Jewelry that contains less than 50% pure platinum cannot be marked with the word platinum or any of it's abbreviations.
How much does the piece weigh, in grams?
Do you know how much each piece weighs in grams? Buyers need to know this key fact but can often work around it if you simply don't know. To get the best bid, weigh your pieces and be ready to supply this information. You can buy an inexpensive gram scale at Walmart or online at Amazon.com (search "gram scale"). You'll need one that can weigh up to at least 50 grams.
Once buyers have these questions answered they can can make a bid, if you happen to have photos you can email, that would be a big help as well.
To get the best offer for your pieces, you must give the generally-accepted information that expert buyers require.
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.
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.
CHOICE UNCIRCULATED (MS-63). — Has some distracting contact marks or blemishes in prime focal areas. Luster may be impaired.
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.
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.
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.
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.
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.
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.
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.
VERY FINE-20 (VF-20). As preceding but with moderate edge wear on highest parts.
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.
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.
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.
ABOUT GOOD-3 (AG-3). Extremely heavily worn with portions of the lettering, date and legends being worn smooth, the date barely readable.
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.
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.
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.
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.
In the world of comic book collecting, the authenticity and condition of vintage comics are paramount, impacting their value significantly. Mainstream comic book grading services play a crucial role in this domain, offering professional grading, authentication, and encapsulation services that assure both buyers and sellers of the item's authenticity and condition. Here's a look at the leading authenticators in the comic book industry:
CGC (Certified Guaranty Company)
Established in 2000, CGC is arguably the most recognized comic book grading service globally. It provides a comprehensive grading scale, ranging from 0.5 (Poor) to 10.0 (Gem Mint), offering collectors and investors a reliable measure of the comic book's condition. CGC's encapsulation process also preserves the comic in a tamper-evident, protective holder, ensuring its condition and authenticity remain intact over time.
CBCS (Comic Book Certification Service)
Founded in 2014 by former CGC grader Steve Borock, CBCS has quickly established itself as a significant player in the comic book authentication space. CBCS offers similar services to CGC, including grading, encapsulation, and a detailed report of the item's condition. A unique feature of CBCS is its verification service for signed comics, offering collectors an added layer of authentication for autographed issues.
PGX (Professional Grading eXperts)
PGX, based in Portland, Oregon, has been grading and authenticating comic books since 2002. While it operates on a smaller scale compared to CGC and CBCS, PGX offers competitive pricing and turnaround times. Their grading standards and encapsulation services provide collectors with an alternative option for verifying and protecting their comic book investments.
Evaluating Authentication Services
When choosing a comic book grading service, collectors consider several factors:
Reputation: The credibility and recognition of the grading service in the collector community.
Accuracy: Consistency and reliability of the grading scale.
Protection: Quality of the encapsulation process and the durability of the protective holder.
Services Offered: Availability of additional services, such as signature verification or restoration detection.
Learning more about the value of your collection with iGuide's Appraisal Reports
Understanding the value of your comic book collection goes beyond grading and authentication. iGuide's Appraisal Reports offer an in-depth analysis of your collection's current market values, based on real market data. Whether you're a seasoned collector or new to the hobby, iGuide provides valuable insights into the worth of your comics, helping you make informed decisions about buying, selling, or holding onto your pieces.
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.
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.
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.
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.
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.
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.
1988
Model 25 - The Trapper: Drop-point hunter-style knife, similar to Model #11. Handle construction is reminiscent of a 1930's design. 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. 2000
Model 27 - Trailblazer: An ideal all-around heavy-duty sportsman's knife. 2010
Model 28 - Woodsman: Small Drop point hunter w/ micarta handles. 2012
Model 27 - Mini Trailblazer: 3-1/2 inch blade version of the Trailblazer.
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.
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.
Alloy - Coin metal consisting of two or more metals which are melted and mixed together. Example --- the 5 cent nickel is an alloy consisting of 95% copper and 5% nickel.
Alteration - An illegally changed coin feature (such as date or Mint mark) to make it appear like a more valuable coin. Example --- the 1922 penny is worth 30 times more with the Mint mark "D" than with it. Many 1922-D coins have been unethically altered to remove the Mint mark "D" hoping to sell it to an unknowing buyer.
ANA - Abbreviation for American Numismatics Association, established in 1891. Largest organization of coin collectors in the world.
Annealing - The manufacturing process of heating the coin metal (planchet) just before striking. This softens the metal enough to receive the impression.
ANA - American Numismatic Society.
Bag Mark - A scratch or ding caused by coins rubbing against each other in a Mint bag. Very common, especially with large heavy silver coins.
Bit - An old Mexican coin circulated in America during the 1800's. This coin was sometimes divided into sections. A "bit" was one eighth of the coin, two "bits" was one quarter of the coin, therefor USA quarter dollars began to be called "two bits."
Blackbook - Pocket size price guide and reference book of USA coins. Updated and published annually since 1962.
Blanking - The manufacturing process of passing the coin metal strip through a punch press to "bang" out the round metal coin blanks (planchets).
Blemish - A minor nick, mark, dent or discoloration on the coin's surface.
Bluebook - Handbook of USA coins published annually since 1941. Gives average prices dealers pay for coins.
Broadstrike - A coin with a larger than normal diameter. This is caused by the coin being struck with the protective collar in place.
Brockage - A coin error in which one side of the coin has a "mirror image" of the other side. This is caused by the failure of the coin to be automatically ejected from the holder on the coin press.
Bronze - An alloy metal consisting of copper and tin. Zinc is sometimes included.
Bullion - Coins produced of high purity metal, such as 999 fine silver or gold coins. Also, blocks of pure gold or silver.
Cast Coin - A coin manufactured by a process of pouring metal into a mold, rather than die striking.
Quarter Eagle - A USA $2.50 face value gold coin, minted from 1796 to 1929.
Redbook - A guidebook of USA coins published and updated annually since 1947, Gives average selling prices by dealers for USA coins.
Reeded Edge - Grooved lines that run vertically around the coin. Used on all modern USA coins from dime to dollar to discourage dishonest practice of clipping off part of the metal.
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.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
Flying Eagle 1857-1858
Indian Head (Copper Nickel, Laurel Reverse) 1859
Indian Head (Copper Nickel, Oak Reverse) 1859
Indian Head (Bronze) 1860-1864
Indian Head 1864-1909
Lincoln Head (Wheat Reverse) 1909-1942, 1946-1958
Lincoln Head (Zinc Plated Steel) 1943
Lincoln Head (Shell Case Copper) 1944-1945
Lincoln Head (Memorial Reverse) 1959 to date
Lincoln Head (Copper Coated Zinc, Memorial Reverse) 1982-2008
Lincoln Head (Shield Reverse) 2009 to date
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!
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.
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.
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.
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.
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.
68 EPQ Superb Gem Uncirculated
The margins and registration are slightly off center. There may be very minor handling.
67 EPQ Superb Gem Uncirculated
A note with above-average margins and registration. There may be minor handling.
66 EPQ Superb Gem Uncirculated
There may be slightly more handling than a 67 EPQ note. The centering must be above average.
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.
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.
63 Choice Uncirculated
The centering is imperfect and the design may be flat. There may be several flaws but there will be no folds.
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.
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.
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.
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.
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.
53 About Uncirculated
Barely circulated. Clean, crisp, sharp corners, good color. Two or three very light almost invisible vertical folds.. Minor signs of handling.
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.
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.
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.
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.
30 Very Fine - Circulated
Lightly Circulated. This note will be circulated and may have light soiling. Can have up to seven to ten folds.
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.
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.
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.
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.
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.
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.
6 Good - Circulated
Poor, rough circulated. The note is very worn with serious splits, fraying of the margins and damage.
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.
Descriptions
Here are some typical descriptions we see in the marketplace. Note the arrangement of descriptive detail, and choice of upper/lowercase notation.
GEM UNCIRCULATED sharp corners, crisp, rich color, no folds, no tears, no pinholes, no visible wear
CHOICE UNCIRCULATED Barely circulated. Clean, crisp, sharp corners, good color, no folds, no tears, no pinholes --- see photos
ABOUT UNCIRCULATED Barely circulated. Clean, crisp, sharp corners, good color, no folds, no tears, no pinholes --- see photos
EXTRA FINE CIRCULATEDVERY FINE CIRCULATED. noticeable wear and wrinkling, good color, numerous folds, no tears, no pinholes --- see photos
FINE CIRCULATED fairly clean, well worn with noticeable folds, no tears, no pinholes --- see photos
VERY GOOD CIRCULATED well worn, numerous folds, minor edge tears, no pinholes --- see photos
ROUGH CIRCULATED discolored and well worn with numerous folds, edge erosion, and edge tears --- see photos
It is a counterfeit, thought to have originated in New Jersey. The counterfeiter evidently prepared his mold from coins of two different dates, using the reverse of a prewar nickel struck at the Philadelphia Mint, thus producing a passable copy of a nonexistent coin.
(Thanks to Steve Frank for the following information)
Wartime nickels, dated 1942-1945, consist of 2 types, Type 1 and Type 2. This is because the federal government decided to change the composition, as nickel was needed in the war effort. The first type, Type 1, were minted through the first part of 1942, and look the same as earlier nickels, and having the same metal composition, the intrinsic value is nil. There is NO mintmark above Monticello on the reverse of Type 1 wartime nickels.
Type 2 wartime nickels were minted beginning in the 2nd part of 1942, and continued through the end of 1945. These contain 35% silver, and NO nickel at all. Type 2 wartime nickels have an intrinsic value based on the current silver price, so even worn examples will be worth approximately 90 cents when silver spot is around $17.
To tell the difference, you must look at the reverse. An oversized mintmark will appear above Monticello on the Type 2 35% silver pieces. The mintmark appearing above Monticello on Type 2 Wartime Nickels can be a “P” (Philadelphia), “D” (Denver), or “S” (San Francisco). This was the first time that the P mintmark was ever used on a coin. Previously, the absence of a mintmark identified a coin as having been minted in Philadelphia. The P and D mintmarks were used in 1942, 1943 and 1944, while P, D and S were used in 1945.
Your 1944 nickel is a “Contemporary Counterfeit”, sometimes called a “Circulating Counterfeit”. These were made by unscrupulous individuals to circulate “Contemporaneously” alongside of genuine pieces as current money. These were NOT made to fool collectors, and are NOT the modern copies we have unfortunately seen become so prevalent in this great hobby.
Although there may have been others, the most famous counterfeit wartime nickels were made by Francis LeRoy Henning in New Jersey. He was caught when he used an earlier reverse to counterfeit 1944 nickels, so no large mintmark is found over Monticello!
There is a very dedicated group of collectors for these, and other old forgeries, and the price of Henning Nickels has varied over the years, with current pricing being around $75, but we have seen them sell for between $60 to $100+.
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.
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.
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.
1946
Model 8 - Trout and Bird Knife: A small game knife for cleaning fish and feathered game.
1947
Model 9 - Pro-Thrower: Accurate, balanced, and scientifically designed for those desiring a practically indestructible throwing knife.
1948
Model 10 - Salt Fisherman and Household Utility: A versatile knife for fishing and household use.
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.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
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
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
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
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
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
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
Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.
GEM MINT 10.0
Perfect. A very rare grade, even for brand new comics.
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.
NEAR MINT/MINT (NM/M 9.8)
Approaching the MINT range but with a very slight blemish of some sort.
NM+ 9.6
Top of the NM range.
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.
NM- 9.2
Bottom of the NM range.
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.
VF+ 8.5
Top of the VF range.
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.
VF- 7.5
Bottom of the VF range.
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).
FN+ 6.5
Top of the FINE range.
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.
F- 5.5
Bottom of the FINE range.
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.
VG+ 4.5
Top of the VG range. Slightly below a VG/F copy.
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.
VG- 3.5
Bottom of the VG range.
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.
G+ 2.5
Top of the GOOD range.
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.
G- 1.8
Bottom of the GOOD range.
FR/G 1.5
Approaching GOOD, with too much wear to be a solid GOOD.
FR+ 1.25
Heavily worn but approaching the good classification.
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.
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.
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.
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.
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. ! BE CAREFUL !
Do not choose No Match unless you are 100% certain there is no RHS exact match.
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)
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.
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. 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.
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.
The tourbillon, one of the most revered complications in the world of watchmaking, traces its origins back to the early 19th century. Born from the genius of Abraham-Louis Breguet, this intricate mechanism was created in 1801 as a solution to a significant challenge in horology: the impact of gravity on the accuracy of pocket watches.
During the era of Breguet, pocket watches were the norm, and their vertical position in the wearer’s pocket often caused inaccuracies due to gravitational forces. Breguet ingeniously designed the tourbillon—a mechanism that compensates for these gravitational effects by housing the escapement and balance wheel in a rotating cage. This cage rotates 360 degrees, ensuring that the critical regulating components of the watch are exposed to all possible positions, thereby mitigating the detrimental effects of gravity. The name “tourbillon,” meaning “whirlwind” in French, aptly describes the movement of this complex mechanism.
La Esmeralda: A Tourbillon Masterpiece
Fast forward to 1889, and the world witnessed one of the most remarkable tourbillon examples: the Tourbillon with Three Gold Bridges, also known as "La Esmeralda," crafted by Girard-Perregaux. This exquisite pocket watch not only featured the regulating mechanism but also introduced the brand's signature three-bridge design. La Esmeralda was a testament to the evolution of the tourbillon, marrying technical precision with artistic elegance.
The Flying Tourbillon: A Revolutionary Innovation
The next significant leap in tourbillon development came in 1920 when Alfred Helwig, headmaster of the German Watchmaking School in Glashütte, introduced the flying tourbillon. Unlike traditional tourbillons, which were supported by visible bridges, Helwig's design featured a single bridge, creating the illusion of the mechanism floating within the watch. This innovative approach, which removed the upper bridge and allowed for an unobstructed view of the tourbillon’s mesmerizing movement, marked a new era in horological design.
The Modern Revival of the Tourbillon
As the 20th century progressed, the tourbillon’s popularity waned, only to be revived in the late 1900s. The resurgence in interest was sparked by the advent of quartz technology in the 1970s and 1980s, which led to a renewed appreciation for the traditional craftsmanship of mechanical timepieces. Audemars Piguet played a pivotal role in this revival with the introduction of the world’s first self-winding tourbillon in 1986, blending historical precision with modern innovation.
Patek Philippe: The Pinnacle of Precision
Patek Philippe has long been a leader in the creation of tourbillon watches, consistently pushing the boundaries of precision and craftsmanship. Their tourbillon timepieces are renowned for their exceptional accuracy and are considered among the most coveted in the world of haute horology.
F.P. Journe: Pioneering Technical Excellence
F.P. Journe is another brand that has elevated the tourbillon to new heights. The Tourbillon Souverain Ruthenium is a prime example of this dedication to technical excellence. This timepiece features a remontoire mechanism, which ensures a constant and equal energy supply to the tourbillon, enhancing its accuracy—a testament to F.P. Journe's commitment to horological innovation.
Richard Mille: The Tourbillon for the Modern Athlete
Richard Mille took the tourbillon into uncharted territory with the introduction of sports-capable tourbillon watches. The RM002, launched at the turn of the millennium, was a groundbreaking model designed to withstand the rigors of athletic activity. The RM002-V2, a special “All Grey” edition launched in 2009, further cemented Richard Mille’s reputation for combining cutting-edge technology with avant-garde design.
Vacheron Constantin: Merging Luxury and Intrigue
Vacheron Constantin has masterfully merged luxury with the intricate mechanics of the tourbillon. The Malte Tourbillon ref. 30672 is a stunning example, featuring a skeletonized design, a platinum case set with diamonds and sapphires, and the brand’s signature Maltese-cross-stylized tourbillon. This piece exemplifies the brand’s ability to blend tradition with opulence.
Jaeger-LeCoultre: The Master Gyrotourbillon
Jaeger-LeCoultre’s Master Gyrotourbillon 1, introduced in 2004, took the tourbillon to new levels of complexity. Featuring multiple complications and a multi-axis tourbillon, this timepiece is a marvel of engineering. The 2017 Jaeger-LeCoultre Master Gyrotourbillon 1, Reference 600.64.06, represents the pinnacle of this technological achievement.
Harry Winston: The Multi-Axis Marvel
Harry Winston has also made its mark in the world of tourbillon watches with its multi-axis tourbillons. The Histoire de Tourbillon 9, featuring a triaxial tourbillon and a bi-retrograde jumping hours display, and the Histoire de Tourbillon 7, with two biaxial tourbillons, are prime examples of the brand’s dedication to pushing the boundaries of watchmaking.
A Collector's Dream
For collectors, the tourbillon represents more than just a timekeeping device; it is a symbol of horological mastery and artistic expression. Whether you are drawn to the historical significance of Breguet’s original design, the technical innovations of modern brands, or the luxurious craftsmanship of contemporary watchmakers, a tourbillon timepiece is a worthy addition to any collection. Its timeless appeal and intricate beauty ensure that the tourbillon will continue to captivate watch enthusiasts for generations to come.
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, trademarks, and other telltale 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:
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.
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.
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.
The company that became the Gorham Corp. was founded about 1817 by Jabez Gorham in Providence, Rhode Island, and became the Gorham Manufacturing Co in 1863. Jabez Gorham started making silver in 1831 in a shop on Steeple Street in Providence. Born to a family of eight, he was apprenticed to New England silversmith Nehemiah Dodge. Dodge was one of the founders of the silver and jewelry crafts industry in 18th century New England. After his seven-year apprenticeship with Dodge, Jabez formed his own business. He created the "French filigree" chain, as well as a wide selection of handcrafted pieces. The firm began producing "coin silver" spoons (made from melted coins).
Jabez's son, John, took total control of the company when Jabez retired. By 1875, there were more than 400 employees, and in 1890 Gorham moved to a new site in Providence. An office building designed in 1905 by architect Stanford White was located on Fifth Avenue in New York City.
The company's trademark--lion/anchor/G was first used in the mid-1800's; later pieces are marked "Gorham Sterling." After the turn of the century, Gorham began acquiring other silver firms, including Whiting, Durgin, Kerr, Mr. Vernon, and Alvin.
Sterling silver, a term widely recognized and revered in the realm of precious metals, denotes a specific alloy composition that has been the benchmark of quality in silverware and jewelry. The Sterling Standard, established and mandated by the United States Government in the Stamping Act of 1906, guarantees that any item marked as "sterling" meets rigorous purity and craftsmanship criteria. This standard ensures that sterling silver consists of 925 parts per thousand of pure silver, with the remaining 75 parts per thousand comprising other metals, typically copper. The addition of copper imbues the silver alloy with the necessary strength and stiffness that pure silver lacks, making it ideal for the creation of a wide range of durable and exquisite items.
The Composition of Sterling Silver
The precise alloy mix of 925 parts pure silver to 75 parts copper or another metal has been meticulously chosen. Pure silver, while highly valued for its luster and workability, is too soft for most practical applications. The introduction of copper into the alloy significantly enhances its durability without detracting from the characteristic sheen that silver is known for. This careful balance allows for the creation of items that are both beautiful and functional, from intricate jewelry pieces to robust silverware.
Historical Significance and Assurance of Quality
The adoption of the sterling standard and its enforcement through the Stamping Act of 1906 marked a pivotal moment in the history of American silver craftsmanship. It provided consumers with a guarantee of quality, ensuring that items stamped with "sterling" adhered to this high standard of silver purity. Notably, the sterling mark has graced the works of renowned silversmiths in Baltimore between 1800 and 1814, and its use became widespread after 1860 in various regions. This historical context not only highlights the enduring prestige of sterling silver but also reflects its significance in American decorative arts and craftsmanship.
Conclusion
Sterling silver continues to be esteemed for its optimal blend of beauty and functionality. The sterling standard, a testament to the enduring value and quality of silver items, remains a key marker of excellence. Whether encountered in antique heirlooms or modern creations, sterling silver pieces represent a rich heritage of meticulous alloying practices and craftsmanship, assured by over a century of regulatory oversight and cultural appreciation.
I believe someday all collectibles will be graded using a 10-point scale, and that this universality will be a factor in making collectibles a recognized investment like stocks and bonds. Grading services will exist for type of antique or collectible, and these grading services will enable a liquid marketplace for massive trading in collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.
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.
I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.
I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your item. As in any collectible, the better the condition of an item, the more valuable it is.
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.
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.
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.
The practice of stamping trademarks and stock numbers onto metalware is a historical method that provided information about the composition and origin of items, a system that was notably refined and utilized by the Meriden Britannia Company starting in 1867. This process not only helped in identifying the material from which an item was made but also in determining its manufacturing process and additional features, such as mounts or soldering. This intricate system of identification has played a crucial role in the world of collectibles and antiques, offering insights into the craftsmanship and era of production.
The System of Stamping
The Meriden Britannia Co., a pioneer in the production of metalware, developed a nuanced system for marking their products. They introduced the use of a cipher (a symbol or series of symbols) preceding a stock number on their nickel silver and silver-soldered holloware. By 1893, this system was further elaborated to differentiate items with white metal mounts by incorporating two ciphers as part of the stock number. For instance, a waiter featuring white metal mounts might bear the stamp "00256," instantly indicating its material composition and design features to those familiar with the coding system.
Implications and Importance
This method of stamping trademarks and stock numbers was not merely an internal tracking tool; it served as a valuable means of communication with consumers and collectors. It allowed for immediate recognition of the material quality and the specific features of holloware items, facilitating informed purchasing decisions. Furthermore, for historians and collectors, these marks provide essential clues for dating pieces, understanding their provenance, and assessing their authenticity.
Legacy and Modern Relevance
The legacy of this detailed stamping system extends beyond the operational history of the Meriden Britannia Company. Today, it aids collectors and experts in identifying and authenticating antique metalware, enriching our understanding of historical manufacturing techniques and aesthetic preferences. The practice underscores the importance of meticulous craftsmanship and the foresight in establishing standards that enhance the value and legacy of metalware collections. As such, the tradition of stamping trademarks and stock numbers remains a fascinating aspect of metalware production, bridging the past with the present in the realm of decorative arts.
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.
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.
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.
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.
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.
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.
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.
If you have what you think may be a rare magazine, it would be wise to get a free iGuide Appraisal Report
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.
These grades describe how worn a figurine is. They follow rules used for years to keep things clear when buying, selling, or talking about Hummels. Grading helps with consistency in the buying, selling, and advertising of Hummel figurines.
Unused Grades
The term UNUSED refers to a piece which has never been used. It has never been handled, displayed or removed from its packaging. The unused grades range from a perfect A+ to an unused but showing faint signs of age without crazing or fading (B).
Unused figurines can be divided into four major grades:
A+
Mint in Box (OMP)
On a scale of 1 to 10, it is a 10.
Perfect, i.e. - in OMP (original manufacture's packaging). brilliant, unusually bright, as new. Example is in brand new condition, includes the original box and all original paperwork (if applicable) included in the box at the time of original purchase. The box itself is in near-perfect condition and contains little, if any flaws. The item inside the box is in brand new condition and has no flaws.
Seldom used by professionals since it represents perfection...and perfection is extremely rare.
A
Mint or aka M
On a scale of 1 to 10, it is a 9.
Virtually flawless but lacking the OMP (original manufacturer's packaging). Superb. Example is in like new condition, may or may not include the original box (if applicable) and may or may not include original paperwork (if applicable) that was included in the box at the time of original purchase. The box itself is in almost new condition but may possess a few minor flaws such as light corner dings, small creases in the box or even small scratches on the box. The item inside the box is in brand new condition and has no flaws.
A-
Near Mint or NM
On a scale of 1 to 10, it is a 8.
Almost perfect. Item may have very slight fading in an unobtrusive area of the item, but otherwise without any scratches, chips, nicks, dings, flakes, fading, or other flaws. Deep, rich color with excellent original patina and gloss.
B+
Very Fine or VF
On a scale of 1 to 10, it is a 7.
An exceptional example. Acceptable to all but the most finicky collector. This is a sharp, almost perfect example. The item may have very minor crazing but not on the face. The bottom of base may have numerous crazing cracks in the glaze. Otherwise, the item has no major defects but may not be quite as bright as Near Mint. May or May Not have original box.
B
Fine Very Fine or FVF
On a scale of 1 to 10, it is a 6.
Slightly worn. Although this example may or may not include the original box (if applicable, many early Hummels never came in a box), it also may or may not include original paperwork (if applicable) included in the box at the time of original purchase. If the box itself is present, it may not be in ideal condition The box most likely has several creases, tears, scratches, etc. However, the item inside the box is in almost new condition and has no chips, color flakes, or cracks. It may, however, have very slight crazing (hairline spiderweb thin cracks in the glaze).
Used Grades
Hummels that have been handled and played with by the children are considered USED. They have been in circulation, meaning they have been handled, fondled, admired, and carried (like they were supposed to be) 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 an item actually is:
C+
Fine or F
On a scale of 1 to 10, it is a 5.
Still quite fine without chips, cracks, color flakes or visible damage of any kind, but age crazing in a more significant amount than in the FVF grade.
C
Very Good or VG
On a scale of 1 to 10, it is a 4.
This example may have a minor color flake or two, some crazing, or a color scratch but has no major flaws such as chips or cracks or repairs.
C-
Good to Very Good or GD/VG
On a scale of 1 to 10, it is a 3.
Beginning to show signs of significant wear. Worn paint. Color flakes. Crazing to a degree that affects eye appeal. Scratches. But still, no repairs or cracks.
D
Good or GD
On a scale of 1 to 10, it is a 2.
A worn, crazed, flaked example. This example is in visibly worn condition, and could have one or two minor flaws which may include small scratches or light paint wear. However, this does not includes cracks, chips or any missing pieces. The original box and any accompanying paperwork may or may not be present. Typically a filler-copy only.
D-
Fair or FR
On a scale of 1 to 10, it is a 1.
The lower grades are separated by degrees of damage. The accumulation of many defects lowers the item from the 3 grade down to the 2. This example is in used, displayed or handled condition. It most likely has been handled and may contain scratches, paint wear, minor chips, dings or even small cracks.
F
Poor or PR
On a scale of 1 to 10, it is a 0.
Extremely worn, damaged or incomplete, although such should be noted. This example is in distressed condition... It may contain scratches, paint wear, chips, dings, cracks and/or missing pieces.
It was the year 1832. At the United States Patent Office in Washington, William P. Elliott listened patiently to a tall, eager youth of eighteen. Enthusiastically the lad explained drawings of his invention and displayed a crude pistol which operated on a novel revolving principle.
When advised that he should first file a caveat and then develop a perfect model, the lad Samuel Colt by name was far from discouraged. He was determined to return soon with everything necessary!
Laughing Gas (Nitrous Oxide) has built few fortunes, but it did serve here to help young Sam Colt along a few of those first hard miles on the road to success. Billed as Dr. Coult, Sam traveled to New Orleans, Baltimore, Cincinnati, Albany, Quebec anywhere he could find a paying audience to witness his sensational demonstrations of the gas effects, and thus provide the funds necessary to finance his firearms endeavors. Nearly three years slipped by as Sam barnstormed around the country, but at the same time, Sam was working hard at redesigning his firearm models. He finally succeeded in having some pistols and rifles made up by Baltimore gunsmiths.
Then Sam Colt was on the high seas bound for England, regarded by many on that day as "The Mother Country." Here on December 18, 1835, the first Colt patent was issued. A copy of this interesting document is preserved at the Colt Museum in Hartford.
The English patent (number 6909) described Colt's invention, in part, as follows: "The mode of causing the breech piece to rotate is by a lifter and ratchet motion, and locking it during discharge by a key. A shield (frame plate) is used to protect the lock from wet smoke, and fouling. The axis of the percussion hole is in line with the axis of the chamber."
Many have wondered why Sam Colt secured his first patent in Europe. There were probably several good reasons. A peculiarity of the English patent law would have denied Colt protection in England if he patented his invention first in the United States. Furthermore, you will recall that Mr. E. H. Collier, a Bostonian who found little encouragement in America, went to England, and his revolving Flint locks were quickly accepted there. Sam's motives were explained somewhat in the following excerpt from an 1838 issue of Spirit of The Times:
"When Mr. Colt was in Paris, and proceeding concerning the impression that Europe was the most desirable field for profit to the inventor, the clouds arose, threatening to burst in a storm of war between France and our United States. His views changed instantly. In such a crisis, he would not give his enviable facilities to his country's foe. He decided to waive all considerations of private interest, for the public good of his beloved native land, and forthwith returned to offer his discovery at Washington, to sustain our side in the expected conflict. But he had scarcely arrived there, when the news of the mediation of England for the adjustment of the difficulties, met him; and his patriotic ambition to serve his country was foiled before he had a chance of even disclosing it."
This incident, and Sam's loyalty to his native land, may have been the determining factors that brought the manufacture of Colt firearms to Paterson, U. S. A., rather than at some address in England, Belgium, or France.
Young Sam, arriving home from Europe, hurried down to Washington. On February 25, 1836, he was granted his first firearms patent. This instrument and patent number 1304, dated August 29, 1839, protected the basic principles of all Colt revolving arms made at Paterson, N. J.
The basic principles. were, in brief:
1. Centrally placed nipples or tubes at the rear of the cyclin are sometimes referred to as a rotating breech or receiver.
2. Each nipple is isolated by partitions to prevent simultaneous discharge.
3. Rotating the cylinder by an act of cocking the hammer.
4. Locking the cylinder in proper adjustment at the moment of discharge, and unlocking it by lifting the hammer when cocking.
These were Colt's main claims. They were defended successfully throughout, as in the famous Massachusetts Arms Co. trial, and until the patents expired in 1857.
Ambitious Sam Colt first claimed invention of the percussion tube (nipple) designed with an aperture "funnel shaped, to freely admit the fire . . . and concentrating it as it enters the chambers." Later, however, he filed a disclaimer, stating that, while he was an original inventor of the system, he may not have been the first to use it. A nipple with four shoulders to engage the applying wrench, and of a size suited to No. 9 percussion caps, was the design used in Paterson pistols.
A New Inventive Era
Multi shot firearms, such as the English flintlock "Pepperboxes" and Collier's flintlock revolver, were handicapped by the system of their ignition. But the percussion cap gave impetus to a new inventive era. The evolution is very interesting, and especially well portrayed in Hand Cannon To Automatic by Herschel C. Logan.
###
Experimental pistols. All are associated with Paterson except the third pistol, which is an evolutionary model from which "Walker" pistols were developed. Colt Co. collection.
Hot on the heels of Colt came Barton and Benjamin Darling with a revolving "pepperbox" which they patented on April 13, 1836. Allen followed in 1837, Nichols & Childs in 1838, and many others including the ambitious Mighill Nutting.
"Pepperbox" patents gave Colt his most serious competition, for these pistols sold at an average of $10 each, whereas Paterson pistols, we are told in old advertisements, retailed at $25 to $100, depending 6n the type and decoration. Some were sold at a reduced bargain price of $16.00.
John Ehlers, in an advertisement of 1845 featuring Colt's pistols, warned his readers, "Great impositions have been lately practiced on the public by representing and selling the six barrel or self cocking pistol as Colt's Patent Pistol. Please note that in deference to popular practice in 1 %. 1836 43, I use the word "pistol" in referring to Colt's early repeating small arms, rather than the more modern term "revolver."
Experimental Models
The Main Street shop of Anson Chase in Hartford produced the first (and faulty) specimen pistols on the Colt system in 1831 32. Chase, a locksmith and gunsmith, was assisted in the work by Wm. H. Rowe, who received the magnificent sum of $1.25 per day for his labors.
A more competent workman, John Pearson of Balti, was engaged in 1834, and "a one man factory" was started, to manufacture sample firearms of Colt pattern. Pearson received the magnificent sum of $10 for a sixty hour week. In 1835, Fred H. Brash was engaged to assist Pearson, and Frederick Hanson is also believed to have worked on some of the Colt models.
Mr. Charles Winthrop Sawyer (Firearms In American History Vol. 2) asserted that Frederick Hanson of Baltimore assisted Pearson in producing the "Promotion Model" Colt pistol illustrated herein, and that "it was handsomely stocked and richly engraved by Richard B. Henshaw of Green St., New York City." There is evidence that this is true.
Mr. Sawyer estimated that a total of approximately six pistols and two rifles were made before the more extensive experiments were undertaken at Paterson. Probably more than that were produced. An exact number cannot be accurately judged, neither is it especially important.
Considerable experimentation did take place both at Baltimore and Paterson, we do know. A few of these models have been preserved and can be seen now in the Colt collection at the Connecticut State Library and at Hart Ford's Wadsworth Atheneum, where Samuel Colt's collection is housed.
It was a big jump forward from the experimental models to the stream lined Paterson pistols first put in production, as exemplified by the pistol with the 'I" serial number on pages 30 and 31.
Samuel Colt’s Contribution
We are dealing here with the works, rather than the personality of Samuel Colt, and will limit comment to those matters bearing directly on the manufacture and sale of firearms, except for a few words.
The quotations that follow, published in 1838, contain a few views on the Colt career that I have not found elsewhere in the writings of Colt historians:
"Very few mechanical improvements within the last few years, have excited a greater degree of interest than the patent Firearms of Mr. Colt, and still fewer are there, likely to be productive of results so important. As some history of the original invention, and the progressive improvement made upon it, will be new to many of our readers, and interesting to all, we have no hesitancy in devoting to it all the space at our command. The annexed extract is from a communication in the Journal of the American Institute:
"The thought of the repeating arms originated with a citizen of Connecticut, Samuel Colt; at the time of its first dawning upon him, a mere boy; for even now, he is not over four and twenty.
"Mr. Colt happened to be near the scene of a sanguinary insurrection of negro slaves, in the southern district of Virginia. He was startled to think against what fearful odds be in one shot, when opposed to multitudes, even though multitudes of the unarmed? The master and his family were certain to be massacred. Was there no way, thought Mr. Colt, of enabling the planter to repose in peace? no longer to feel that to be attacked, was to be at once and inevitably destroyed? that no resistance could avail, were the negroes once spirited up to revolt? As yet he knew little of mechanics; in firearms, he was aware of nothing more efficient than the ordinary double barrelled pistol and fowling piece. But even loading and reloading these, involved a most perilous loss of time: Could no mode be hit upon of obviating the danger of such delay?
"The boy's ingenuity was from that moment on the alert. He meditated in secret; and after repeated trials, he affected a movement of six distinct barrels on an arbor running through their center, in such a manner that by every operation of cocking the lock, a loaded barrel would be brought to a line with the hammer, and there held firm until discharged.
Presently he found That the Weapon was complex, and would be cumbersome. He was determined to make the scheme known when he could bring it into a form more simple, and more manageable. Plan upon plan hurried his fancy onward until it was wearied with the rapid variety of its conceptions. But the delight of invention, so fascinating to the projector, at length gave way to the soberness of calculation.
"While in this state of mind, he had to travel through a part of the country in which the protection of firearms was indispensable and had no weapon but his six barrel pistol. On one occasion this did him such valuable service, that his mind again involuntarily reverted to its earliest ambition. He suddenly asked himself, 'Why may there not as well be only one barrel and one lock, and between them a rotary receiver for the charges? Could this point be gained, the weapon would be compact and light enough. It would be scarcely heavier than an ordinary single one. Then would there remain nothing to be desired:
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In these buildings, backed against the Passaic River at Paterson, N. J., the first Colt patent pistols and rifles were manufactured by Patent Arms Mfg. Co. Pen sketch by Chas. F. Sawyer, from the library of Raymond L. J. Riling.
"He plodded on unremittingly till he effected his object. No person was entrusted with his secret. His first rude efforts, especially at the time when he had intended to ban don the undertaking, had leaked out; and other persons had wrought upon the hint, and with feeble and unavailable imitations, had puffed themselves into notice. But Mr. Colt felt satisfied that the imperfectness of the copy would prevent it from doing him an ultimate injury, and he was resolved to profit by experience, and keep his final improvements to himself, until his right to the entire discovery should be secured to him by patent abroad, as well as at home. He did not even disclose his patent to his father, till he had laid his plan to depart. He went to Europe. He became favorably known at the patent offices, and placed his interest beyond dispute, under the protection of the laws of the various countries which he visited. "Spirit of the Times. History records of Samuel Colt that he contributed very effective weapons to the arsenals of America and Revitalized the manufacture of firearms throughout the world. In so doing, he gave profitable employment to thousands and amassed a fortune for himself and his family. Colt's ambition was stronger than his body, which, prey to arthritis, was laid to rest in 1862. The "incredible career" of Samuel Colt ended before he could complete his 48th year.
Being human, Sam Colt made mistakes. I believe that those who read this book will share my opinion that no con constructive purpose would be served here by invading the intimate privacy of the Colt family life. Let us relegate reports of unwise conduct to entombment with the man who is now helpless to defend himself. Samuel Colt's industry has provided a great wealth of enjoyment for American arms collectors. An urge to enter the romantic realm of "Coltianna" sooner or later comes to every student of firearms.
Wheels Begin To Turn
Eighteen hundred and thirty six was a busy year for the 22 year old Hartford inventor. Patents were granted; a stock company of New York and New Jersey capitalists organized; a factory site engaged at Paterson, N. J.; experiments with machinery and models were undertaken. And by the autumn, a small number of Colt's patent repeating firearms were on the workbenches. "The Patent Arms Manufacturing Company" was granted a New Jersey charter on March 5, 1836, which charter was amended twice in 1839. Elias B. D. Ogden (later judge) was named President, and Colt's cousin, Dudley Selden, was appointed Secretary and General Manager. John Ehlers, of New York City, an important stockholder, later became very prominent in the affairs of the Company. !I son pistols, this Baltimore made specimen is yed to prospective investors, when the Patent oriented. Known as the "Promotion Model. "was appointed Secretary and General Manager. John Ehlers, of New York City, an important stockholder, later became very prominent in the affairs of the Company.
The Old Gun Mill
Perched above the turbulent Passaic River, just off of Van Houten Street, is a spot well known to the historically minded citizens of Paterson. Here, in "the old gun mill," was cradled not only the first successful repeating firearms of America but the silk industry as well!
Particularly enlightening is The History of Industrial Paterson by L. R. Trumbull, printed in Paterson, in 1882. From 'this we quote, "Under these auspices (The Patent Arms M'g. Co.) the Gun Mill proper was erected after the manufacture of the patent arms had been experimentally carried on for a short time in an obscure mill then standing. When finished the mill was, especially for that day, a very fine structure, about 100 x 40 feet, four stories high with an attic. On the spire that surmounted the bell tower was a vane very elaborately made in the design of a finished gun, and in front of the mill was a fence, each picket being a wooden gun, and the whole was beautifully painted. There were several small buildings attached to the mill proper, and over the raceway was an office in which Henry B. Crosby, then one of the most skilled workmen, slept for several years."
Compared to modern factories, or the later Colt Hart Ford buildings, this factory building was neither large nor imposing. Historic and valuable firearms were fabricated here, however, and it served its purpose well.
Having studied the methods of Eli Whitney and Springfield Armory, especially about interchangeable parts, Colt planned to employ machinery for as much of his work as possible. Sam's ambitions were restrained somewhat by limited funds, and the unsympathetic attitude of his Cousin Dudley, general manager of the Company. The arms were fabricated "part by hand and part by machinery." A rather good uniformity was achieved, however.
Jack Rohan says that Thomas Lawton of Baltimore was engaged as foreman of the Paterson factory, but Trumbull asserts that Pliny Lawton of Ware, Mass, was "superintendent of the works." Records at the Connecticut Historical Society favor Pliny Lawton.
Henry B. Crosby was brought in from Springfield, Mass, where he had been working on fine machinery, to head the lock department. Philip Rafferty also is known to have been employed, as well as Fred Hanson, later a famous gunsmith on Prospect St., Paterson, A. Pulhamus, and Ira Leonard. H. Barrett Crosby, a grandson of Henry B. Crosby, was interviewed by the author, and the Crosby association with the Paterson factory was fully confirmed. We learn through Trumbull, that, "Many of the revolvers and guns finished here were, of almost oriental magnificence. Some of the arms were intended for foreign countries, presents being sent to Princes, Governments, and distinguished men the world over."
Up Stairs A Silk Mill
The upper portion of the gun mill was occupied by Messrs. Murray and Ryle for about two years while the Patent Arms M'g. Co. made pistols below. It seems probable that the first silk machinery was brought from Hartford in the year 1838 by Christopher Colt, brother of Samuel. In a very short time, however, this undertaking was abandoned. In 1840 Mr. Murray took possession and put Mr. Ryle in full charge. It is claimed for Paterson that here occurred the first successful manufacture of silk in the United States.
Work Begins 1836
Occupied primarily with organization, the Patent Arms M'g. Co. produced but little in 1836, and not much reference can be found as to any arms made in that year. In a lecture before the Institution of Civil Engineers in London some years later, however, Colt referred to the sketch of an early type eight shot rifle, which he said was made in 1836. The early endeavors appear to have favored rifles.
### An old photograph of Paterson, N. J, showing, at far right, the factory where Colt patent firearms were first made. The sketch below provides a frontal view and was copied from an illustration in an old issue of "Paterson Evening News.
"President Andrew Jackson (1829 1837) was in the White House and Sam promptly called to show his wares to the old soldier, and to present him with a fine specimen, probably the first "Presentation Colt" of record.
A Government Trial 1837
Sam's hard plugging in Washington finally resulted in a trial being arranged for Colt's invention before the board of Army ordnance officers at West Point, N. Y. The First firearms of his design submitted for government trial were revolving muskets. They failed to impress the ordnance officers, who gave them an unfavorable report, suggesting, "their advance tags are counterbalanced by the complexity of construction and consequent greater liability to derangement and accidents. "Writing June 1, 1840, in defense of another trial, Colt stated, "The arms submitted in 1837 ... were the first arms ever made on my principle, and were got up in a great hurry. Consequently, the arms were imperfect and easily gotten out of order."
A Government Order 1838
Although we are reserving for PART V the data about Paterson made long arms, it is important to the sequence of events to include some mention of them here. In February 1838, Sam departed for Florida, where the warring Seminole Indians were giving the United States Army serious difficulties. In Colonel William S. Harney, Sam found a staunch friend and the first Army officer to successfully champion Colt's arms. Because of Col. Harney's favorable recommendations, General Thomas S. Jesup purchased from Colt fifty revolving rifles, eight shot patterns, of various calibers, for $125.00 each. Some Paterson pistols were sold to officers of Jesup's command. Mal G. J. Rains, active in the Seminole campaign, later praised the rifles as follows: "This weapon, eight times as efficient in the fire as the musket is unequaled by any in the service. "Back in New York, rifles appeared to be getting the greater attention, also. At the American Institute of the City of New York for the Encouragement of Science and Invention, Colt's rifle won a gold medal in 1837. At that time his pistol was brushed aside with this brief comment: "Revolving chambered pistols best fit only for military uses." Again in 1838, Colt's rifle won the Institute's award. An exhibition of Colt's eight shot rifles was held at the Battery, New York City, on February 19, 1838. At that time, Dick & Holmes, agents, offered Colt rifles for sale at $150.00 each. In times when a large glass of beer, costing 50 cents, brought with it a free lunch, $150.00 was not exactly a paltry sum!
The Texas Navy 1839
Important events, heretofore somewhat obscure, occurred in 1839, and we find the first sale of Colt pistols for naval use.
In Texas John Fuller, representing Colt, had interested Memicum Hunt (Secretary of the Navy Department), Col. Geo. W. Hockley (Armory Officer), and others in Colt's arms. This led to an order for 180 carbines and 180 pistols, Aware of the difficulty of initiating the government to entertain the idea of any change lathe implements of warfare ideas spurred palsy the necessities of actual service. Mr. Colt. resolved, to look additively to the spirit of the pinta enterprise for giving efficacy to his invention:
He obtained a charter from the legislature of New Jersey, for a Patent Armeldensfimuring Company, with a capital of three hundred theusmadviallars. Mesta & lass has been taken by several of our wealthiest citizens. An armory is already boat at Paterson, K .1. When its arrangements are complete, this armory will employ five hundred artisans. Upwards of one hundred are now constantly at work there, not only during the entire day but even through a portion of the night.
Alibis recent fair of the `Arun= Institute. specimens of these, ingenious weepers, were exhibited in public for the first time. They attracted universal ad. mimosa. A committee of loaned sud practical mechanics pronounced upon their merits. After the most rigid scrutiny, they were accorded the highest and unqualified praise. The inventor was elected a member of the Institute. He was also presented with the greeting distinctive in the power of the Institute to bestow a solder medal.
To give readers a better understanding of the principle upon which these Firearms are constructed, the following diagram is submitted of a Pistol, which is manufactured and acts upon the same principle as the Riau, with the exception. that the Cocked Rifle acts horizontally and is concealed beneath the Sight:
`The perillas = preside Ai tidal in three detached partials, as
A—The stock, including the Hamm attack, and the Cylinder on which the Receiver B revolves and to wk.& the Barrel C is fastened.
B—the Receiver et Chamber, prepared for five charges.
C—the Buret, climb. 'is fastened to the Cylinder, on which the Iteceiv. er, re evolves; to the left of the letter Oels. fite wedge, which fastens the Barrel to the Cylinder." '
The loiter piste, Dr promotes the Pistol Complete, cocked ready for firing. When discharged, the triad, by tarring. maybe closed into the Stock; the act of cocking throw the Triggered, mad turns the Receiver one charge each time.
B represents the inverted sod or the Receiver, adjoining the. Barrel, The five black dots denote the Chambers for damn, and the •white ring (enclosing the letter E) the lade or aperture dames which the Cylinder runs:
###
Presents the inverted cad of die Receiver, neat the Hammer. the small white dots denoting the Conn on each percussion Cape are placed.
A later additional purchase by. Texas may be indicated by old records which recite litigation as to payment.
Edward Ward Moore, after several years in the United States Naval Service, resigned in 1839 and accepted the appointment of "Post Captain Commanding," with courtesy rank of Commodore, to the Navy of the Republic of Texas.
Commodore Moore wasted no time; he got busy outfitting his ships in the port of Baltimore (a city closely allied with the fortunes of Sam Colt). Here it was, no doubt, that Moore contacted Sam in nearby Washington, and discussed the arms concerning which he later testified:
"The Texas volunteers of war were armed with Colt's pistols and carbines, which were on very frequent occasions exposed in boats and bad weather, and I unhesitatingly assert that they are as little injured by exposure to the weather as the common musket or ship's pistol.
"The Colt pistols, used by the Texas Rangers before annexation, were all supplied from the navy after they had been in constant use upward of four years; and I know some of these arms that have been in constant use for nine years, and are still good.
"I have seen the recently improved model (Walker) which has several alterations, or rather improvements, which make it a better arm than those I had in use in the Texas Navy, which were among the first manufactured by the inventor."
It is not difficult to understand why Colt later honored the Texas Navy and his friend Moore with an Ormsby en engraving, symbolizing their victorious May 16, 1843 engagement with the Mexican fleet. This ship scene decorated the cylinders of subsequent Navy and Army (Model 1860) revolvers made at Hartford.
Jack Hays, a famous Texas Ranger, and soldier, having obtained some of the Texas Navy pistols, is credited with their most spectacular use against the Indians (Comanches). Leading fifteen men armed with CoIt's Paterson pistols, he is reported to have routed eighty redskins, killing forty two of them.
Improved Patents
The most important of the Colt patents, insofar as actual Paterson manufacture is concerned, is number 1304, dated August 29, 1839. This patent records the improvements brought about by experimentation at Paterson, mostly before the start of any actual production.
No production pistols have been found of the 1836 patent design, whereas the earliest Paterson pistols produced conform to the drawings of 1839. Pistols of the 1839 pattern were certainly in actual production before the dating of the patent. Pistols of belt size in the 1839 pattern are shown in the 1838 illustration. The shoulder arm with exposed hammer, a system used in Paterson shotguns and six shot carbines, made its debut in this patent.
###
One of the earliest printed illustrations of Colt pistols. Two grip designs are shown. The text is enlightening; more will be quoted on page 300.
Among other things, Colt claimed, "the mouths of the chambers and the (rear) end of the barrel have their edges chamfered or beveled. In all guns of this description, there is necessarily a lateral discharge between the receiver and barrel, and this lateral discharge may endanger the ignition of the powder in the loaded chambers not in contact with the barrel; but the ignited matter, by coming in contact with the beveled edges as it crosses said chamber, is effectively reflected off, and does not enter them. The beveling of the barrel is intended merely to prevent cutting the ball in its passage from the chambers."
Loading Made Easier
The author has been particularly interested in Colt accessories and has assembled many different molds, flasks, etc. A fine starting point in this accessory story is Colt's Paterson flask, mold, capper, and loading tool, described in the 1839 patent.
The loading tool was a most important feature in this period of development and embodied ideas which soon led to the attachment of a permanent loading lever on rifles and pistols.
Indications of a screw hole and plunger channel, such as required for permanent attachment of a loading lever, are drawn in the sketch appearing on page 2. There is no explanation in the patent text; only the unattached lever tool is featured. This drawing indicates, however, that the attached lever was being considered.
Writing of Colt rifles to Hon. J. R. Poinsett, Secretary of War, July 30, 1840, Captain G. T. Rains suggested the following, "In conclusion permit me to say that a bayonet would be an advantageous appendage to this arm; and the lever rammer, which can be easily prefixed, would add to its efficiency."
The first reference to a permanently attached loading lever coming to my notice appeared late in 1840 in connection with naval trials and is as follows, "The ramrod, or, more properly, the lever, has now been ingeniously fitted permanent to Colt's carbine, and facilitates in a great degree the loading. This is an important improvement, and the liability to drop the lever is now obviated."
This improvement was truly important in reloading, for instead of a loose frame, barrel, wedge, cylinder, lever, and loading components, the pistol or rifle could be kept completely assembled with only the components to be juggled!
"Mr. Henry B. Crosby," says Trumbull, "is accredited with the honor of adjusting the first lock used on the patent arms, and also of fixing on Colt's revolver the first ramrod lever attachment ever placed on a pistol."
As late as 1843, John Ehlers advertised "Colt's Repeating pistols, with the latest improvement," and illustrated the pocket model with an attached loading lever. Hence, it seems more proper to date models with attached loading levers later than 1839, all the evidence considered. A loose loading tool did make its appearance in the 1839 patent, but, in considering models designed for the permanently attached loading levers, 1840 appears more exact.
Compared are the relative sizes of Colt's 1849 pocket model made at Hartford and the 1840 pocket model made by Patent Arms Mfg. Co. at Paterson, N. J.
Not only the accessories, but the ammunition as well held Colt's attention prominently in 1839, and he devoted considerable time toward perfecting a waterproof foil cartridge.
Another U. S. Trail 1840
Colt persuaded the War Department to try out his carbines and the United States Navy to test his firearms, both pistols and rifles, in 1840. In the Navy trials pistols are mentioned for the first time in an official government report, and it is believed that this was the first time they were officially demonstrated.
Again the reports of the board members were mostly unfavorable but tempered by some small encouragement in these words, "The undersigned would not, however, wish to be understood as condemning altogether the use of these arms on board ship; on the contrary, they are decidedly of opinion that every vessel of war should be supplied with a sufficient number of these rifles and pistols for arming boat expeditions."
A Senate report, printed in 1851, provided considerable information concerning the Paterson Colt period. Here it is learned that the Navy, late in 1840, undertook further experiments with Colt firearms, at Governor's Island, N. Y. This report was somewhat more favorable than previous findings, but still qualified and conservative.
"Texas Paterson"
About this time Sam urged the sale of pistols and rifles to some Texas buyers at cost. He felt that this would introduce them in some quantity and stimulate a lively demand. The Texas frontier, with active skirmishing involving the Texans with Indians and Mexicans, was a good proving ground for the new "Five Shooter" pistols, and for repeating rifles.
Commodore Moore's testimony, previously quoted, would designate 1843 as the approximate year in which the Texas Rangers obtained their pistols from the Texas Navy.
"Texas Paterson" is a popular phrase among collectors. The model favored by Texans was principally of .36 caliber, with a large grip. In old records, several frontiersmen, such as Maj. Carlton referred to them as "Colt's pistols of the largest size."
Very little profit certainly accrued to the Patent Arms M'g. Co. from Texas sales, regardless of the date and manner in which the arms were introduced. But the "Texas Paterson" laurels gathered on this frontier helped materially to bring profitable orders to Colt later at Hart Ford, via Whitneyville.
In 1854 Sam said, "I did not make any money until lately; I made none in America until my arms were employed in the Service, by the energy of the people who first went to Florida, next to Texas, in the wars with the Indians, and finally to Mexico; that completed the reputation of my arm so far as America is concerned."
The Capt. Sam H. Walker papers of 1846 enumerate, in U. S. custody in Texas, various pistols, carbines, flasks, bullet molds, percussion priming boxes, and screwdrivers, all of Colt's patent.
Beginning Of The End
A long series of disagreements between the reckless showman, Sam Colt, and his conservative cousin, Dudley Selden, contributed to Dudley's resignation as Secretary and Manager of the Patent Arms M'g. Co. John Ehlers succeeded Dudley Selden, and Ehler's name put in an appearance for the first time in Doggett's New York Business directory, 1840 41, as follows: "Ehlers, John, Patent firearms, 155 Broadway."
Possibly as the result of the 1840 trials at New York, the United States Ordnance Department took a more favorable attitude toward Colt's firearms, and ordered one hundred repeating carbines on March 2, 1841, and another sixty on the following July 23rd. The price was $45 each, quite a reduction from the $125 paid for Colt ring lever rifles in Florida several years before.
The Shadow Lengthens
This token of governmental patronage meant little, however, in preventing the collapse of the Paterson venture, for it came much too late. Many causes contributed to the failure.
During President Martin Van Buren's administration (1837 41) a near panic gripped the Nation. Money was scarce. We were at peace; no urgent need for armaments. The comparatively high cost of Colt's arms, in a depressed market, was a very serious handicap.
Youthful Sam Colt's ideas were extravagant and revolutionary; his financial accountings were slipshod. This was directly opposed to the meticulous New England conservatism of cousin Dudley Selden. Internal friction in the company's affairs was constant.
Sam was 100% correct in his belief that he could not succeed without governmental patronage. Assiduously he sought the ear of those with political influence. Concerning Sam's Washington efforts, Cousin Dudley complained, "You use money as if it were drawn from an inexhaustible mine. I have no belief in undertaking to raise the character of your gun by old Madeira.
"By its very nature, Sam's contract with the Patent Arms M'g. Co. caused friction and a division of interests. The Flintlock era was just drawing to a close. Army oldsters were not trustful of Colt's new fangled invention; they wanted more than the expansive aims of a stripling, and their favor came too slowly to keep the Colt ship afloat. Little did Sam Colt and salesman Zabriskie (a distinguished family in northern New Jersey) realize that the arms they were trying so hard to sell would one day bring many times the factory list price to hang in a collector's cabinet!
His Luck Was Bad
Some years ago a similar version of the following story was told by Mr. Crosby's grandson:
"On one occasion, of many like ones, Messrs. Colt and Crosby went to Washington, and with them several men best skilled in the use of the weapon, the object being to give a convincing display of its wonderful power. The men were drawn up in a line at the Capitol, waiting for the command to fire, Mr. Colt and a group of Army officers holding their watches in their hands to note the time, when the carriage of the President drove up. The President stepped out and stood on the Capitol steps. Then the word was given and the arches of the rotunda rang with sharp and continuous detonations.
"The display was a wonderful success, but a most unfortunate and fatal catastrophe spoiled all. The carriage horses of the President, mettlesome animals, were rendered wild with affright at the firing and were soon out of control. They reared and then dashed forward, causing the carriage to strike the gate column with such force that the driver was thrown to a considerable height, whence he fell on an iron railing and was almost instantly killed.
This, it is said, gave the President such a prejudice against the arm that he always opposed its adoption. Disheartened after so many setbacks, Sam considered for a time removal to England and the formation of a Company there. He might have done so, had not an English financier, with whom he negotiated, proved incapable of the needed assistance.
A final parting of the ways between Colt and Ehlers came with the discovery that Ehlers was not crediting Sam properly on royalties due. Sam was through. He engaged competent attorneys, demanded a thorough accounting, and tied the Patent Arms M'g. Co. up in a complicated lawsuit.
Lawsuits And Bankruptcy 1842 to 43
The litigation started by Colt in 1841 lasted five or six years. Ehlers, in 1842, threw the Patent Arms M'g. Co. into bankruptcy, and by late 1843 its affairs had been substantially liquidated.
Years later, in London, Colt stated, "I had to pay $30,000 out of my pocket for this failure." This sounds like one of Sam's "more extravagant" claims. A total loss of many dollars to stockholders and others concerned did accompany the failure, and Sam remarked that the only beneficial result of the venture was gaining experience in making the arms themselves and the machinery required to manufacture them.
John Ehlers acquired a substantial portion of the sold firearms at the factory, and he continued in business (1843 45 at 171 Broadway, and 1845 47 at 2 Barclay St., New York City), and advertised Colt's patent repeating pistols up until 1847. Ehlers sold "50 Boarding pistols, 5 charged each" at $25 apiece to the U. S. Government, making delivery on September 10, 1845. Through the courtesy of Dr. Arthur Woodward, we learn that Ehlers advertised his Paterson firearms in The American Flag, of May 23, 1847, published in Matamoros, Mexico, opposite the present city of Brownsville. Underneath a woodcut picturing a Paterson pistol was the following: "Special permission having been granted to Mr. Ehlers to sell his Colt's Repeating Fire Arms under certain restrictions the officers of the army are respectfully informed that these arms are now for sale at the office of the subscriber (Casa de Don Andres Saldana) on the street leading south, at the southwest corner of the Plaza de Hidalgo. Private soldiers and American citizens can also be accommodated with them, but must first produce written permission, the soldier from the commanding officer, and the citizen from the commander of this city, Col. Davenport."
The advertisement further stated that "Colt's Patent Repeating Rifles, Carbines, and Pistols with the latest in improvements of 1844, 1845 and 1846 (apparently Ehler's arms assembled from Paterson parts) are the most complete weapon ever invented perfect in all their parts."
Several incidents of entertaining character were related by Trumbull, in his early book on the history of industrial Paterson, such as:
"When the crisis came, and the Sheriff was expected every moment, about $60,000 worth of magnificent arms was hidden under the coal and elsewhere. Other property, including a portion of the splendid machinery, was also secreted.
"It was just before the grand catastrophe that Mr. Colt, offered a half interest in the patent to John Ryle for $5000. When the crash came, H. B. Crosby was a creditor of the Company for wages due to a considerable amount, and the only way in which he could secure his own was to take about twenty five sets of the different portions of the arm. These he later put together and realized a handsome sum."
Emerging from this maze of trial and tribulation is the important fact that Samuel Colt's patents were restored to him. Edward Dickerson, a New York attorney, is credited with rendering invaluable assistance to Sam in this regard.
This brings to a conclusion the outline of events associated with the manufacture, development, and promotion of Paterson pistols. Further light will be shed on the activities of this era in connection with Colt Paterson shoulder arms.
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.
Concord Silver Co. began in 1925 in Concord, New Hampshire. It went into bankruptcy and was reorganized as Concord Silversmiths Ltd. in 1939. Silver production was halted in 1942. Crown Silver Co later purchased Concord's dies. Silver pattern: Concord.
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.
1988
Model 25 - The Trapper: Drop-point hunter-style knife, similar to Model #11. Handle construction is reminiscent of a 1930's design. 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. 2000
Model 27 - Trailblazer: An ideal all-around heavy-duty sportsman's knife. 2010
Model 28 - Woodsman: Small Drop point hunter w/ micarta handles. 2012
Model 27 - Mini Trailblazer: 3-1/2 inch blade version of the Trailblazer.
Gadrooning is a decorative motif that has graced the edges of tableware and various metalwork for centuries, embodying both aesthetic beauty and historical significance. This brief exploration delves into the essence of gadroon, tracing its origins and its enduring presence in the art of metalwork.
The Origins of Gadroon
Gadroon, often seen adorning the rims and feet of cups, plates, and other vessels, is characterized by its series of curved or straight lobes. Emerging in the late 17th century, this decorative technique quickly gained prominence, especially in silver and goldsmithing. The pattern, which can vary from simple smooth curves to intricate folded designs, was primarily used to add a touch of elegance and complexity to otherwise plain surfaces.
Gadroon in Art and Craftsmanship
The application of gadroon decoration is a testament to the artisan's skill and creativity. Its use extends beyond mere embellishment; it reflects the stylistic trends and cultural preferences of the period. In the late 17th and early 18th centuries, gadrooning was indicative of the Baroque movement's love for ornate and dramatic details. As it evolved, it became a staple in various art and design periods, adapting to the changing tastes while maintaining its distinctive charm.
Legacy and Modern Interpretations
Today, gadroon remains a popular decorative technique, cherished for its historical depth and visual appeal. Modern craftsmen and designers continue to draw inspiration from this classic motif, incorporating it into contemporary works while respecting its traditional roots. Gadroon serves as a bridge between past and present, allowing us to appreciate the continuity and evolution of artistic expression through the ages.
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.
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.
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.
C10 New.
The finest quality available. A new book is unread, in print and in perfect condition with no missing or damaged pages.
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.
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.
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.
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.
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.
C3 Good (G).
Describes the average used worn book that has all pages or leaves present. Any defects must be noted.
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.
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.
Aluminum silver represents an innovative alloy that marries the lightweight properties of aluminum with the luster and durability of silver, resulting in a material that offers enhanced qualities suitable for a variety of applications. This alloy, characterized by its hardness and ability to retain its polish without tarnishing in the air, embodies a significant advancement in materials science.
Composition and Characteristics
The alloy's composition, which integrates silver into an aluminum base, varies in proportion but commonly includes a blend of three parts silver to ninety-seven parts aluminum. This specific ratio results in an alloy that, while maintaining the appearance of pure aluminum, significantly surpasses it in hardness and polishability. The incorporation of silver not only augments the alloy's aesthetic appeal but also its resistance to wear and environmental factors.
Advantages and Applications
Aluminum silver's resistance to air and its ability to achieve a high polish make it a preferred choice for decorative items, jewelry, and components in which both the appearance and longevity of the material are critical considerations. Its unique properties bridge the gap between the desirable characteristics of precious metals and the practical advantages of lightweight, non-ferrous metals.
Innovation in Material Science
The development of aluminum silver alloy marks a notable innovation in the field of material science, offering new possibilities for designers and engineers. By combining the distinct qualities of aluminum and silver, this alloy presents a versatile material solution that aligns with both aesthetic and functional requirements. As material technology continues to evolve, aluminum silver stands as a testament to the ongoing pursuit of materials that offer superior performance and enhanced visual appeal.
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.
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.
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.
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.
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.
No, not all first edition books have value. In fact, the vast majority, 95% or more, of all first edition books have very little value. Only first editions by certain authors have any significant value.
It's not unusual to find grandpa's old gold teeth in a drawer when cleaning out the estate. Are gold teeth worth anything?
The name DENTAL GOLD is given by dentists to any bridgework or caps made of an alloy of gold. Not many people are familiar with the intricacies of gold use in dentistry, but there are many interesting facets of dental gold and how it functions in the mouth. Today, dentists don't often use gold in their dentistry, but in past years it was quite a common practice.
How pure is dental gold?
Dental gold is usually an alloy consisting of 16 parts gold and 8 parts other metals such as palladium, silver, copper and/or tin. Gold buyers want yellow dental gold, not white or silver.
How can I sell gold teeth and bridgework?
Dental gold is valued by weight, usually gram weight (although some buyers use pennyweight). Thus, the weight of the teeth themselves must be eliminated. To do this, you must remove the teeth from the bridgework or cap. How? Simply take a hammer and smash the tooth until it falls from the gold crown or denture. Use pliers to pull any remaining parts from the gold. Next, weigh the gold pieces on a gram scale and write down the total gold weight you have. With that information, you are ready to contact a buyer.
To calculate the value of your dental gold, consider the following example. You have a gold cap, and it weighs 1 gram. There are 31 grams in a troy ounce, so you have 1/31 of an ounce of gold. But it is not pure gold. It is 16 karat, which is 2/3 pure. For simple math, let's use a per ounce price of $1000 for pure or 24 karat gold (obviously, as of this writing it is much higher). Divide $1000 by 31 to get the value of one gram of pure gold. That gives us a value of $32.25 for one gram of pure gold. Take 2/3 of that to get the value of one gram of 16 karat gold, or $21.29. But nobody will pay you 100% of the gold value, because dealers buy for resale and must make a profit. But, armed with this information and your math skills, you can quickly determine how much your gold buyer is offering.
Remember, a buyer of dental gold is a dealer and is buying wholesale from you with the goal of earning a profit. You will not get the full gold value for your gold teeth. Why not? Because like any business there is a markup between wholesale and retail (or scrap value in the case of dental gold).
Today, fillings are more commonly made of other less expensive and/or cosmetically desirable substances like mercury amalgam or polymer compounds. However, gold is still the strongest and longest lasting material a dentist can use.
NOTE - White metal teeth or bridgework not yellow, isn't worth anything. Only yellow gold dental work is wanted by dealers at this time.
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.)
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.
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
When we think of horses, images of majestic creatures galloping across open fields or competing in thrilling races often come to mind. However, one aspect of horses that most folks don't consider is their monetary value. Specifically, within the realm of thoroughbred horses, there exists a dynamic and lucrative market driven by a variety of factors.
Market Dynamics
The market for thoroughbred horses is a complex ecosystem influenced by numerous factors. Demand fluctuates based on trends in racing, breeding, and even leisure riding. High-profile events like the Kentucky Derby or the Royal Ascot can significantly impact the market, as success on the racetrack often translates to increased value for both the horse and its offspring.
Additionally, the pedigree of a horse plays a crucial role in its marketability. Offspring of champion racehorses or from prestigious bloodlines can command premium prices. Furthermore, the reputation of breeders and trainers can also influence buyer interest and confidence in the investment.
Factors Influencing Value
Several key factors contribute to determining the value of a thoroughbred horse:
1. Pedigree and Bloodlines: Horses with a lineage of champions are highly sought after in the market. The potential for success on the racetrack is often perceived to be greater in these bloodlines.
2. Performance: The track record of a horse, including its racing achievements and performance in competitions, directly impacts its value. Success in prestigious races can significantly enhance a horse's worth.
3. Conformation and Health: Physical attributes and overall health are critical factors. Horses with excellent conformation, free from any major health issues, are typically more valuable as they are perceived to have a higher likelihood of success and longevity in racing.
4. Market Trends: Economic and industry trends can influence demand and subsequently impact prices. For example, a surge in interest from international buyers or new regulations within the industry can affect market dynamics.
Risks and Rewards
Investing in thoroughbred horses can be both lucrative and risky. While the potential for substantial financial gain exists, it is not without its challenges. The high costs associated with breeding, training, and maintaining a racehorse can be substantial. Moreover, success on the racetrack is never guaranteed, and factors such as injuries or underperformance can lead to significant losses.
However, for those willing to take on the risks, the rewards can be immense. The thrill of owning a successful racehorse, the potential for lucrative breeding rights, and the prestige associated with winning prestigious races are just a few of the rewards awaiting successful investors in the market.
World Record Price and Varied Values
It's worth noting that while some thoroughbred horses fetch astronomical prices, not all horses reach such heights of value. In 2006, a two-year-old, then unnamed colt, set the world record for the highest price ever paid for a thoroughbred racehorse at public auction. The Forestry colt was sold for $16 million (£9.1 million) through agent Demi O'Byrne at an auction held at Calder Race Course, Florida, USA. Remarkably, this colt had yet to even race, underscoring the speculative nature of the market and the premium placed on perceived potential.
In conclusion, the market for thoroughbred horses is a fascinating blend of tradition, speculation, and prestige. Driven by a multitude of factors, including pedigree, performance, and market trends, it offers both opportunities for substantial financial gain and risks of significant losses. While not all horses reach the staggering values seen in record-breaking sales, the allure of owning a champion racehorse continues to captivate investors and enthusiasts alike.
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.
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.
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.
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!
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.
Early RMK's (Pre-War): Early Randall Made Knives, crafted before World War II, bore a striking resemblance to William (Bill) Scagel knives. They frequently featured leather and brass spacers near the hilt and were often finished with 'crown' stag handles, reflecting a high level of craftsmanship. 1939 Randall w/ the Scagel-style spacers
By the End of 1942: WD 'Bo' Randall had largely standardized the handle types for his knives, favoring plain stag, stacked leather, or wood handles. This period marked the beginning of more uniform production methods.
Stag Handles
Pre-1958: Stag handles are among the easiest to date. Early stag handle knives produced prior to 1958 utilized brass pins for securing the handle. Initially, two pins were used, but by 1946, this was reduced to one pin. As better epoxies became available, the use of pins was phased out entirely, with the exception of some special order knives into the early 1960s. Single-pin and double-pinned stag fighters
Until Around 1973: A seven-spacer stack was commonly used at the hilt end on most stag knives. Around 1973, Gary Randall decided to standardize to a five-spacer configuration for all regular production models, including those with stag and wood handles.
Stacked Leather Handles
1942-1945: Early stacked leather handles were more cylindrical and tapered down on both the hilt and pommel ends. These handles were also thicker than the washers used today. 1943 Fighter with thicker, cylindrical Leather Washers
Late 1945: The thinner, more oblong leather handles we recognize today first appeared. This period also saw the introduction of the thong hole through the Duraluminum buttcap. Two versions of stacked leather handles were produced in 1945, and these versions resurfaced during the Korean Conflict in 1950. It's believed that sales plummeted post-WWII, leaving many knives unsold until the 1950s.
By 1953: The thinner, tapered style of stacked leather handles had become the norm for virtually all models.
Tenite & Micarta Handles
1954: Tenite handles made their debut with the introduction of the RMK Model #14 'Attack' and Model #15 'Airman' knives. The first Tenite handles were off-white, but by 1955, the more common green Tenite was in use. All production Tenite models featured two exposed screws and an extended tang with a thong hole. A few 'transition' knives were made during the change to Micarta handles, including some Model #16 'Diver's Knife' versions. Model 14 White Tenite Handle
1960: Gray Micarta was introduced for the Model #17 'Astro'. By late 1963, the extended tang had been removed from RMK Models #14, #15, and #16, and a chocolate brown Micarta was used. These transition knives initially had exposed screws, but this was soon changed to plugged handles. By early 1966, screws were no longer needed, as epoxies secured the handle.
By 1967: Black Micarta became the standard. Some Tenite models were rehandled with Micarta as they returned to RMK for repair, since Tenite handles did not hold up well to the moisture and heat of Vietnam, often warping and breaking. Modern Black Micarta handles
Late 1968: Originally, Micarta handle knives featured an unlined, chamfered 3/16" thong hole. In late 1968, a brass ferrule was introduced as a special order item, and by late 1972, it became a standard feature in normal production. Be cautious of those removing the ferrule to make their knives appear older.
Hollow Handle
1963: The Model #18 'Survival Knife', known for its hollow handle, was introduced. The original design utilized modified blades from Models #14 and #15 and featured a rubber 'crutch tip' butt cap and a pinched tube handle, which aligned with the hilt widths of Models #14 and #15. Randall Model 18 Crutch Tip
By 1965: The hilt of the Model #18 was widened, eliminating the need for a severe pinch. Rubber crutch tips were used until 1972, after which a threaded brass end cap was introduced.
The evolution of Randall Made Knives' handles reflects a rich history of innovation and adaptation to both materials and user needs. Understanding these historical developments not only enriches our appreciation for these knives but also helps collectors and enthusiasts accurately date and value their pieces. Whether you're a seasoned collector or a new enthusiast, the history of RMK handles offers fascinating insights into the legacy of one of America's most iconic knife makers.
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!
Daily use enhances the beauty of sterling silver, adding mellowness and depth of color, so no one should hesitate to use it all the time. The millions of tiny scratches on the surface that come with constant use give color or patina that adds to the finish. All silver should be washed as soon after use as possible. Use ordinary caution so as not to crowd too many pieces close together. Wash in clear sudsy water and rinse thoroughly in clear hot water. It is important to dry each piece well even when washed in the automatic dishwasher. Should spots appear after the use of certain foods like eggs, salt and salad dressing, they may be easily eliminated with silver polish during the washing process.
About once a month should suffice for over-all polishing. Use a reliable polish free of grit, and a clean soft cloth. Lengthwise stroke on flatware produce the finest luster; on holloware, follow the contours or shape of the piece. Be sure to rotate the usage of all pieces so that all acquire the same patina. The ideal container for storing silver is a tightly closed chest that has individual places for each piece. Rolls for flatware and bags for holloware made of tarnish-resistant cloth are also good for sterling silver.
Be sure to keep chest well dusted and clean. Stray particles of salt in the case will cause the silver to tarnish and sometimes even to spot.
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.
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.
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.
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.
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.
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.
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.
If you want to flip large lots of buffalo nickels for a quick profit, the current wholesale price dealers will pay for clean, undamaged buffalo nickels is $10.00 per pound in bulk. Large dealers will take any quantity up to 100,000 coins or 1000 pounds in weight. There are roughly 90 nickels per pound.
Any nickel dated from 1913 to 1938 is a buffalo nickel and is also sometimes called an Indian head nickel. They are called 'buffalo nickels' because they have an image of a standing buffalo on the reverse, or backside of the coin. In 1939, the buffalo nickel was replaced with the Jefferson nickel, which is what we still have, with few changes, today.
Buffalo nickels are very common, but some rare dates are worth dollars, not nickels. However, they are rare for a reason. You could spend a lifetime searching through mountains of of them and never find a rare date. Finding a rare date or mint mark 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 dealer for a profit. This is called 'the art of the flip'. Or do some searching for rare dates, then do the flip.
Whatever you decide to do, just remember that there are lots of dealers who are in the business of buying large lots of common date coins. If you want to know how to find a reputable dealer to sell your buffalo nickels to, JUST ASK IGUIDE.
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.
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.
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.
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.
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.
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.
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"
In the realm of metallurgy and historical craftsmanship, the composition and usage of pewter alloys present a fascinating narrative of innovation, adaptation, and the pursuit of quality. One such variant, known as Trifle Pewter, embodies a curious chapter in this narrative. Initially composed of sixty percent tin and forty percent lead, Trifle Pewter stands out for its distinctive properties and the specialized artisans associated with it, known as 'triflers.'
The Characteristics and Challenges of Trifle Pewter
Trifle Pewter, by its original composition, exhibited a darker coloration and a softer texture compared to the more refined grades of pewter. This inherent softness and the alloy's visual aesthetics differentiated it from its contemporaries, limiting its application in the wide array of pewter goods traditionally produced. The significant lead content, while contributing to the alloy's malleability, also presented challenges in terms of durability and workmanship.
Given these properties, Trifle Pewter's use was relatively short-lived in the historical timeline of pewter manufacturing. The alloy found its niche in the creation of specific items such as spoons, saltshakers, buttons, and other small articles. Notably, these were items that did not require the finishing processes afforded by lathe work, a common practice for higher-grade pewter products. This distinction underscores the adaptability of craftsmen in utilizing available materials to their utmost potential, even within the constraints posed by the material properties.
Innovation and Evolution: Towards a Superior Alloy
The narrative of Trifle Pewter does not end with its limitations but rather highlights a pivotal moment in material science and craftsmanship. Recognizing the alloy's shortcomings, particularly in terms of its softness and workability, metallurgists and artisans sought an improved formula. This pursuit of enhancement led to the development of a new alloy composition: 83 parts tin to 17 parts antimony.
This significant alteration not only addressed the challenges associated with the original Trifle Pewter but also expanded the possibilities for pewter craftsmanship. The inclusion of antimony increased the hardness and durability of the alloy, making it more suitable for a broader range of applications. This evolution marked a departure from the constraints of Trifle Pewter, allowing for the creation of more diverse and enduring pewter artifacts.
Legacy of the Triflers
The artisans known as 'triflers,' who specialized in working with Trifle Pewter, occupy a unique place in the annals of craftsmanship. Their ability to navigate the challenges of a less-than-ideal material speaks to the ingenuity and adaptability of craftsmen throughout history. Though the material they worked with was eventually surpassed by superior alloys, the triflers' contribution to the pewter craft provides valuable insights into the iterative nature of material innovation.
Conclusion
The story of Trifle Pewter is more than a footnote in the history of materials; it is a testament to the dynamic interplay between material properties, craftsmanship, and technological advancement. As we reflect on the evolution from Trifle Pewter to its enhanced successors, we are reminded of the relentless pursuit of quality and functionality that drives innovation. In this journey, the triflers and their alloy serve as a beacon of creativity and adaptability, principles that continue to inspire modern metallurgy and design.
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.
Unger Bros was started in the 1870's in Newark, New Jersey and made silver items until 1914. The firm's flatware patterns were also featured on other items, including desk sets, ashtrays, and letter openers. Marks on flatware included the capital letter U, and an entwined UB in a circle plus Sterling 935 fine. Patterns: Cupid Sunbeam, Cupid's Nosegay, and Douvaine.
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.
Table Placement: ( a few simple rules) All flat silver is laid in the order of use, starting with the piece farthest from the plate on each side. Knives are placed with the cutting edge towards the plate; forks with times pointing up; spoons hollow side up.
Not more than three knives and forks (not counting the oyster fork and the butter spreader) may be laid at one place setting. Additional silver is placed when required. More often than not the cover does not require this amount of silver for the family and informal meal; the usual placing being knife, soup spoon and tea spoon placed at the right of the plate with the salad fork and dinner fork at the left. For the salad course and many entrees, the fork is all that is required, therefore, omit the corresponding knife.
The oyster fork may be placed at the extreme right and parallel with the soup or bouillon spoon. The butter spreader is placed across the rim of the bread and butter plate with the handle to the right.
At breakfast only the pieces needed are placed on the table following the above placement.
For luncheon only enough flat silver to carry through the salad course is laid with the settings. Dessert and coffee silver are provided with those courses.
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
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.
History of Black Patti Records
Black Patti Records 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.
Most Valuable Blues and Jazz Artists on the Black Patti LabelWillie 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 Top BuyerJon 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 (xlixk the link above.
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.
Tiffany and Company Inc of New York began producing its own sterling flatware in the late 1800's, but as early as the 1850's had sold the wares of other makers that bore its name. The company introduced the English sterling silver standard (925/1000) in the United States in 1852, and this was later adopted as federal law to determine sterling silver purity. Some pattern names: Atlantis, Audubon, Bamboo, Beekman, Broom Corn, Castilian, Century, Chrysanthemum, Clinton, Colonist, English King 1870, English King 1885, Faneuil, Feather Edge, Flemish, Hamilton, Hampton, Japanese, King William/Antique, Marquise, Palm, Palmette, Persian, Provence, Queen Anne, Rat Tail, Renaissance, Richelieu, Salem, San Lorenzo, Saratoga, Shell & Thread, St. Dunstan, St. James, Tiffany, Vine.Fruits & Flowers, Wave Edge, Windham, and Winthrop.
Westmorland Sterling Co. of Wallingford, Connecticut began selling pieces in five patterns produced by Wallace Silversmiths in 1940. Its trademark was a ram's head in profile in a box. Their patterns: Enchanting Orchid, George & Martha Washington, John & Priscilla, Lady Hilton, and Milburn Rose.
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.
Deregulation of the energy markets is defined as the removal or simplification of government rules and regulations that constrain the operation of market forces. Deregulation of natural gas and electric in some states occurred when the Federal Energy Regulation Commission (FERC) ruled that it should limit its authority to wholesale transactions. This decision made it possible the way for individual states to determine if and how they should allow retail price competition.
Deregulation does not mean elimination of laws against fraud, but eliminates or reduces government control of how business is done, thereby moving toward a free market.
In states with deregulated retail markets, individual consumers may have the ability to choose their provider in certain circumstances.
Some states have deregulated the electricity market under their control. Here is a list of those states as of August, 2012.
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.
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.
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.
Passwordless login is a method of authentication that allows users to access accounts and services without the need to remember and input a traditional password. Instead, it relies on alternative forms of verification, such as a one-time code sent via SMS or email, biometric data (fingerprint or facial recognition), or even hardware tokens. This approach not only simplifies the login process but also enhances security by reducing the risk associated with password theft and reuse.
Importance in Web-Based Software Services Evolution
The significance of passwordless login in the evolution of web-based software services stems from the growing frustration among users over managing an increasing number of passwords for different services. The traditional password system is becoming a bottleneck for user experience, leading to "password fatigue" – a scenario where users are weary of creating new passwords and remembering them. In the current digital landscape, where security breaches are common, a passwordless approach offers a more secure and user-friendly alternative, mitigating the risks of compromised passwords while simplifying the login process.
Passwordless Login and Long Lived Sessions
Passwordless login and long-lived sessions work together to significantly improve the user experience by streamlining access to services while maintaining security. Once a user is authenticated through a passwordless method, a long-lived session can keep the user logged in over extended periods, even across different devices, without the need to re-authenticate frequently. This seamless experience reduces friction, making web navigation and service use more fluid and enjoyable. Long-lived sessions are managed carefully to balance convenience with security, often involving mechanisms like automatic session expiration after a period of inactivity or requiring re-authentication for sensitive actions.
The Future of Web Authentication
Websites that fail to integrate passwordless login and long-lived sessions will soon be as outdated as the horse and buggy carriage. In an era where user experience and security are paramount, clinging to traditional password-based authentication methods is a recipe for obsolescence. The shift towards more innovative and user-friendly authentication methods is not just a trend but a necessity in the ever-evolving digital landscape.
Smart web entrepreneurs are implementing these features as quickly as possible, leveraging services like Auth0 to make the transition simple and transparent. Auth0 and similar platforms offer robust solutions for implementing passwordless authentication seamlessly, helping businesses to enhance security, improve user satisfaction, and stay competitive in the digital age.
In conclusion, the move towards passwordless login and long-lived sessions represents a significant leap forward in making web services more accessible, secure, and user-friendly. As we continue to navigate the complexities of digital security and user experience, adopting these innovative authentication methods will be crucial for the future success of web-based software services.
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.
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.
All authentic Morgan silver dollars are worth money, but some are worth more than others. Morgan dollars were issued by the United States Mint beginning in 1878. The last Morgan dollar was released in 1921. More recently, the Mint began issuing a Morgan dollar in 2021. All pre-1922 Morgan dollars are made of 90% silver and weigh about 26.73 grams, so they have significant value simply for their silver content. Beware of fakes! Morgan dollars weighing 24 or 25 grams are fake.
Here is a list of Morgan dollars that are rare or harder-to-find. Those not listed here are considered to be common.
Fine Arts Sterling Silver Co. was established in 1944 in Philadelphia, Pennsylvania, selling patterns made by International Silver Co., and was moved to Morgantown, Pennsylvania in 1972. After moving to Jenkintown, Pennsylvania in 1977, Fine Arts went of of business in 1979. Some pattern names: Crown Princess, Romance of the Stars, Processional, Romance Rose, Southern Colonial, and Tranquility.
Based in Meriden, Connecticut, Amston Silver Co. Inc. went out of business in the 1960's, and its patterns were acquired bay Crown Silver Co. They had the following siilver patterns : Athene, Champlain,and Ecstasy
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.
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.
Maker and Pattern
The maker will be names such as Gorham, Reed & Barton, Towle. The pattern will be names like Chantilly, Royal Danish, Repousse. The words will be found stamped on the bottom of each piece in most cases.
Weighted or Open Base?
Are your pieces weighted or open? Meaning is the base closed and weighted with concrete or sand, or open or hollow bottomed?
Stamped Sterling?
Is the piece stamped STERLING? If not, it is 99% probable that the piece is not sterling silver, but rather silver plate.
What are the dimensions?
What is the height and width of each piece? In the case of platters and serving trays, what is the length?
How much does the piece weigh, in ounces or grams?
Do you know how much each piece weighs in ounces or grams?
Buyers need to know this key fact but can often work around it if you simply don't know. To get the best bid, weigh your pieces and be ready to supply this information.
Once buyers have these questions answered they can can make a bid, if you happen to have photos you can email, that would be a big help as well.
To get the best offer for your pieces, you must give the generally-accepted information that expert buyers require.
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.
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.
Alvin Corp Manufacturing Co. was founded in 1886 in Irvington, New Jersey. It became Alvin Silver Co. in 1919. The Gorham Co bought most of the firm's assets in 1928 and changed the name to Alvin Corp. Company marks include an ornate capital A flanked by a winged dragon; they also produced a line called Lullaby Sterling. Some pattern names include: Apollo, Avila, Bridal Bouquet, Bridal Rose, Chapel Bells, Chased Romantique, Chateau Rose, Chippendale-Old, Della Robbia, Eternal Rose, Fleur de Lis, Florence Nightingale, Florentine, Francis I, French Scroll, Gainsborough, Hamilton, Hampton, Majestic, Maryland, Melrose, Miss Alvin, Morning Glory, Orange Blossom-Old, Orange Blossom-New, Pirouette, Prince Eugene, Raleigh, Raphael, Richmond, Romantique, Rosecrest, Southern Charm, Spring Bud,, Vivaldi, and William Penn
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.
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.
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
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.
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.
Unused Grades
The term UNUSED refers to a knife that has never been used. It has never been sharpened, carried, handled and is in unused condition. The unused grades range from a perfect A+ to an unused but showing faint signs of wear from opening/closing but without sharpening (B).
Unused knives can be divided into these major grades:
A+
Mint in Box (OMP)
On a scale of 1 to 10, it is a 10.
Perfect, i.e. - in OMP (original manufacture's packaging) where applicable. Brilliant, unusually bright, LIKE NEW. Example is in brand new condition, includes the original box and all original paperwork (if applicable) included in the box at the time of original purchase. The box itself is in new to almost new condition and exhibits few if any flaws. The knife inside the box is in brand new condition and has no noticeable flaws.
A
Mint or aka M
On a scale of 1 to 10, it is a 9.
Almost like new to new. Never used, never carried, never sharpened. No cracks, no wobble, excellent snap; may be lacking the OMP (original manufacturer's packaging). Extremely fine, Superb. Example is in almost like new condition. The box itself is in excellent condition but may possess a minor flaws such as corner dings, small creases in the box or even small scratches on the box.
A-
Near Mint or NM
On a scale of 1 to 10, it is a 8.
Almost perfect. Never used, never carried, never sharpened. No cracks, no wobble, excellent snap; may be lacking the OMP (original manufacturer's packaging). Deep, rich color with excellent original patina and gloss. May exhibit one or two minor carbon spots on a backspring, bolster, or blade.
B+
Very Fine or VF
On a scale of 1 to 10, it is a 7.
An exceptional example. Acceptable to all but the most finicky collector. This is a bright, clean, extremely fine example. Never used, never carried, never sharpened. Could possibly have a pin crack (minor), but has no wobble, and has excellent blade snap; may be lacking the OMP (original manufacturer's packaging). The item may have very minor spotting but no signs of sharpening. The backspring exhibit carbon spotts or a minor scratch or two. Otherwise, the item has no major defects but may not be quite as bright as Near Mint. May or may not have original box.
B
Fine Very Fine or FVF
On a scale of 1 to 10, it is a 6.
Showing signs of storage wear. Never used, never carried, never sharpened. Could possibly have a pin crack (minor), but has no wobble, and has excellent blade snap. Although this example may or may not include the original box (if applicable, many early knives never came in a box), it also may or may not include original paperwork (if applicable) included in the box at the time of original purchase. If the box itself is present, it may not be in ideal condition The box most likely has several creases, tears, scratches, etc.
An unused Case knife with a pin crack. Pin cracks are common with Case yellow composites.
Used Grades
Knives that have been sharpened, carried, handled and played with by the children are considered USED. They have been in circulation, meaning they have been handled, fondled, admired, and carried (like they were supposed to be) 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 an item actually is:
C+
Fine or F
On a scale of 1 to 10, it is a 5.
Still fine without chips, cracks, color flakes or visible damage of any kind, but aging in a more significant amount than in the FVF grade. The knife has been carried, sharpened, handled and is obviously used. It may have a crack or pin cracks, may have a weak blade snap. Possible minor wobble may be noticeable when testing the blades.
C
Very Good or VG
On a scale of 1 to 10, it is a 4.
An average used knife. Knife has been sharpened. It has blade wobble. It has a crack or several pin cracks. It is obviously USED. The blades are worn and possibly slightly pitted, although not to an extreme degree. This example may exhibit color flake or blade crazing, or bolster/backspring scratches but is complete without major damage or repairs.
A heavily worn Case knife exhibiting blade pitting.
C-
Good to Very Good or GD/VG
On a scale of 1 to 10, it is a 3.
Very much used. Beginning to show signs of significant wear. It has blade wobble. It has a crack or several pin cracks. It has been heavily sharpened over the years.
D
Good or GD
On a scale of 1 to 10, it is a 2.
A worn, crazed, distressed example. This example is in visibly worn condition, and could have flaws which may include small scratches or surface wear. However, this does not includes broken or chipped blades or missing pieces. Typically a filler-copy only.
D-
Fair or FR
On a scale of 1 to 10, it is a 1.
The lower grades are separated by degrees of damage. The accumulation of many defects lowers the item from the D grade down to D-. This example is in used, displayed or battered condition. It has been heavily sharpened and may contain scratches, blade wear, chips, dings or even small cracks.
F
Poor or PR
On a scale of 1 to 10, it is a 0.
Extremely worn, damaged or incomplete, although such should be noted. This example is in distressed condition...
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!
Oneida Silversmiths was incorporated in 1880 near Sherrill, New York as Oneida Community Limited. It became Oneida Ltd. in 1935 and began producing sterling flatware in 1946, marked Oneida Sterling or Heirloom Sterling. Some Pattern names: Afterglow, Belle Rose, Bountiful, Damask Rose, Dover, Du Maurier, Engagement, First Frost, Flower Lane, Grandeur, Heiress, King Cedric, Lasting Spring, Mansion House, Martinique, Mediterranea, Melbourne, Reigning Beauty, Rubaiyat, Satin Beauty, Sentimental, Silver Rose, Stanton Hall, Twilight, Virginian, Vivant, Will O' Wisp, and Young Love
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 14 - 24 and the years they were released.
1954
Model 14 - Attack: This knife was designed to meet the demand for an almost indestructible all-purpose knife. It is especially suited for combat and survival purposes.
Model 15 - Airman: Designed especially for aircrew survival and combat purposes in cooperation with U.S. Marine Corps Equipment Board. 1958
Model 16 - Diver's Knife: A robust knife designed for heavy-duty saltwater use. 1960
Model 17 - Astro: Specially designed for the seven Mercury astronauts who carried them on America's first manned space flights. Astronaut Gordon Cooper did the final design and two of these historically valuable knives are on display in the Smithsonian Institution. It became available to the public in 1963. 1963
Model 18 - Attack and Survival: A hollow-handled survival knife.
Model 19 - Bushmaster: Designed by a professional woodsman for all-around camp and big game hunting purposes. An excellent big game skinning knife.
Model 20 - Yukon Skinner: An adaptation of our Model #4 specially designed for big game purposes by Ward Gay, the famous Alaskan bush pilot. 1966
Model 21 - Little Game: A smaller hunting knife for game preparation. Especially suited for caping and other delicate cutting duties. 1971
Model 22 - Outdoorsman: A thinly-beveled blade for the professional outdoorsman. 1972
Model 23 - Gamemaster: A variation of the Model #19, serving the same purposes. Developed because of popular demand for a knife with these characteristics. 1978
Model 24 - Guardian: Specially designed in 1978 for use by police, undercover agents, and law enforcement personnel for self-protection and as a back-up weapon.
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.
Manchester Silver Co. was established in 1887 in Providence, Rhode Island, and adopted the slogan, "If it's Manchester, It's sterling". The company mark was a cross surrounded by a crown, and the letter M. Some pattern names: Amaryllis, American Beauty, Copenhagen, Duke of Windsor,Fleetword, Gadroonette, Leonore, Manchester, Mary Warren, Park Avenue, Polly Lawton, Silver Stream, Southern Rose, and Valenciennes.
The Richard Dimes Co. was founded in the first quarter of the 20th century (sources differ on the exact year) in South Boston, Massachusetts. In 1955, the firm was sold to King Silver Co., which in turn was taken over by Rogers, Lunt & Bowlen (later Lunt Silversmiths). Dimes' tools and dies were purchased by Manchester Silver Co in the mid-1950's. Some pattern names: Debutante.
Reed & Barton of Taunton, Massachusetts began in 1824 as the partnership of Babbitt & Crossman. Isaac Babbitt and Wlliam Crossman began a small Brittania ware firm that went through several incarnations and almost collapsed, but was saved by the work of three employees: Charles E. Barton (the brother-in-law of William Crossman), Henry Good Reed, and Benjamin Pratt. By 1840, the Reed & Barton firm was established.
`Reed & Barton has produced more than 100 flatware patterns, including Francis I, which has been a popular pattern since it's introduction in 1907. The firm acquired Dominick & Haff in 1928 and the Wester Co. in 1949, although Reed & Barton later sold that company to Towle in the 1960's. Initially, Reed & Barton produced Brittania ware, which resembles pewter but is more durable. Silver plated flatware was added in 1848 and sterling silverware introduced in 1889. The firm's marks on sterling feature the letter R in a shield flanked by an eagle on the left and a rearing lion on the right. Some other pattern names: Amaryllis, Autumn Leaves, Burgundy, Cameo, Cellini, Cellini-Engraved, Chambord, Classic Fashion, Classic Rose, Clovelly, Columbia, Da Vinci, DAncing Flowers, Devon, Diadem, Diamond, Dimension, Dorothy Quincy, Elegante/L'Elegante, English Provincial, Florentine, Fragrance, Francis I (Eagle/R/Lion stamp), Francis I (Patent pending stamp), Francis I (Reed & Barton stamp), Francis I sterling and gold, French Antique, French Renaissance, Georgian Rose, Grande Renaissance, Guildhall, Hampton Court, Hawthorne, Hepplewhite-Chased, Hepplewhite-Engraved, Hepplewhite-Plain, Heritage, Intaglio, Jubilee, Kings, La Marquise, La Parisienne, La Perle-Engraved, La Reine, Lark, Les Cinq, Les Six Fleurs, Love Disarmed, Majestic, Marlborough, Petite Fleur, Pointed Antique, Pointed Antique-Hammered, Renaissance Scroll, Romaine/Monique, Rose Cascade, Savannah, Silver Sculpture,Silver Wheat, Spanish Baroque, Star, Tapestry, Tara, and Trajan.
Watson Co. began producing silver items in Attleboro, Massachusetts, in the late 1890's and produced dozens of flatware patterns and hundreds of style of souvenir spoons. Their patterns: Colonial Fiddle, Foxhall, George II, George II Rex, John Alden, Juliana, Lamerie, Lily Lotus, Martha Washington, Meadow Rose, Mount Vernon, Navarre, Orchid, Wentworth, and Windsor Rose.
Britannia metal, a silver-white alloy, represents a significant development in the field of metallurgy, offering an alternative to traditional pewter with distinct advantages in both appearance and material properties. This alloy, primarily composed of tin, is hardened with copper and antimony to achieve its notable characteristics. The careful balance of these elements not only differentiates it from pewter but also enhances its utility and aesthetic appeal.
Composition and Characteristics
The typical composition of Britannia metal includes a high proportion of tin, which accounts for its silver-white appearance, distinguishing it from the more muted tone of conventional pewter. The alloy is further strengthened by the addition of copper and antimony, which not only harden the material but also contribute to its durability and resistance to wear. Occasionally, small quantities of zinc and bismuth are incorporated to adjust the alloy's melting point and improve its casting qualities. A common formulation of Britannia metal involves 140 parts of tin, complemented by three parts of copper and ten parts of antimony.
Advantages and Applications
The primary advantage of Britannia metal over pewter is its enhanced appearance, which more closely resembles silver, making it an attractive option for decorative items, tableware, and other articles where aesthetics are a priority. The omission of lead in its composition addresses health concerns associated with traditional pewter, further elevating Britannia metal's appeal in the manufacture of food-related utensils and accessories. Its versatility and pleasing visual qualities have made Britannia metal a favored material in the production of high-quality, affordable alternatives to silverware.
Conclusion
Britannia metal's development and widespread use underscore the ongoing search for materials that combine functionality with beauty. By offering an attractive, durable, and safe alternative to pewter and silver, Britannia metal highlights the importance of innovation in material science, catering to both the practical and aesthetic demands of consumers and industries alike.
Towle Silversmiths of Newburyport, Massachusettsw began in 1857 as Towle & Jones, but the company's heritage goes back to the 17th century. In 1679, William Moulton II left Hampton, New Hampshire and settled at Newbury (later Newburyport) where he became a trader and may have done some silversmithing.
His Son, Joseph, is generally recognized as the first silversmith of the Moulton line, which is said to have the longest continuous span of silversmithing of any American family. From father to son, this family produced silversmiths for two hundred years, more of its members entering the silver industry than from any other family in early American history. Even one woman in the Moulton clan--Lydia, daughter of William III--- did some silversmithing. Although most of the Moultons carried on their craft in Newburyport, some went to other communities where they established themselves as silversmiths.
The third William moved in a covered wagon to Marietta, Ohio, carrying his silversmith's tools with him. His son, Joseph, had four sons, all of whom were silversmiths. Ebenezer moved to Boston and Enoch to Portland, Maine, each of them continuing their crafts in their respective places. Abel inherited his father's business in Newburyport and the fourth William established his own shop in the same place.
By this time, Anthony F. Towle went from Hampton to Newburyport where he became apprenticed to the fourth William Moulton. Anthony was a descendent of Philip Towle and the son of Jabez, who had purchased the General Moulton house in Hampton. Later Anthony joined with William P. Jones to establish a silversmith partnership. These two subsequently purchased the fourth Joseph Moulton's business and formed the firm of Towle and Jones in 1857.
From this enterprise developed the silversmith establishment today known as The Towle Silversmiths. The company mark of a lion mounted on a script letter "T" was supposedly based on the family coat of arms. Silver patterns are: Aristocrat, Awakening, Benjamin Franklin, Candlelight, Canterbury, Cascade, Charlemagne, Chased Diana, Chippendale, Colonial Thread, Contessina, Contour, Country Manor, Craftsman, Debussy, D'Orleans, Dorothy Manners, Drury lane, El Grandee, Esplanade, Federal Cotillion, Fiddle Thread, Fortana, French Colonial, French Provincial, Georgian, King Richard, Lady Constance, Lady Diana, Lady Mary, Lafayette, Laureate, Legato, Louis XIV, Madeira, Marie Louise, Mary Chilton, Meadow Song, Newport Shell, Novantique, Old Brocade, Old Colonial, Old English, Old Lace, Old Master, Old Mirror, Old Newbury/Newbury, Paul Revere, Peachtree Manor, Petit Point, Pomona, R.S. V. P., Rambler Rose, Rose Solitaire, Royal Windsor, Scroll & Bead, Sculptured Rose, Seville, Silver Flutes, Silver Plumes, Silver Spray, Southwind, Spanish Provincial, Symphony, Vespera, Virginia Carvel, and Virginia Lee.
William B. Durgin started his company in Concord, New Hampshire in 1853, and it grew to become one of the largest flatware and hollowware manufacturers in the U.S. Gorham Co. purchased the firm in 1905, and production was moved to Providence, Rhode Island in 1931. Some pattern names are: Bead, Chatham, Chrysanthemum, Cromwell, Dauphin, English Rose, Essex, Fairfax, hunt Club Iris, Lenox, Louis XV, Madame Royale, Marechal Niel, New Vintage, Orange Blossom, Sheaf of Wheat, Victorian/Sheraton, and Watteau.
Old Newbury Crafters of Newburyport and Amesbury, Massachusetts, was formally established in 1932, but began as a joint venture in 1915. They specialized in hand-wrought patterns, including Moulton and Old Newbury. All hand-wrought pieces have been marked by the craftsmen who made them since 1965. Some pattern names: Moulton, Oak Leaf and Old Newbury.
International Silver Co was formed in Meriden, Connecticut, in 1898 by a group of independent silversmiths. This association came to include Rogers Bros. (and their famous 1847 trademark), Derby Silver, Meriden Brittannia, Webster and Wilcox, among many others. Some pattern names: 1810, Abbottsford, Angelique, Avalon, Berkeley, Blossom Time, Brandon, Breton Rose, Bridal Veil, Brocade, Cloeta, Colonial Shell, Continental, Courtship, Dawn Rose, Deerfield/Beacon Hill, Devonshire, Du Barry, Edgewood, Elegance, Elsinore, Empress, Enchanted Rose, Enchantress, Fontaine, Frontenac, Gadroon, Georgian Maid, Governor Bradford, Grande Regency, Irene, Joan of Arc, La Rochelle, Lady Betty, Lambeth Manor, Mademoiselle, Maintenon, Margaret-New, Margaret-Old, Masterpiece, May Melody, Mille Fleurs, Minuet, Moonglow, Napoleon, Norse, Northern Lights, Old Charleston, Orleans, Pansy, Pantheon, Pine Spray, Pine Tree, Prelude, Primrose, Queen's Lace, Radiant Rose, Revere, Rhapsody-New, Rhapsody-Old, Richelieu, Riviera, Rosalind-New, Rose Ballet, Royal Danish, Royal Rose, Sculptured Beauty, Serenity, Shirley, Silver Iris, Silver Melody, Silver Rhythm, Sonja, Southern Treasure, Splendor, Spring Bouquet, Spring Glory, Springtime, Stardust, Stratford, Swan Lake, Theseum, Torchlight, Trianon, Trousseau, Valencia, Vision, Warwick, Wedding Bells, Wedgewood, Wesley, Westminster, Whitewall-New, Wild Rose-New, Wild Rose-Old, and Windermere
Off-color Jefferson nickels are not rare, and have been seen in hues ranging from smoky blue through deep purple to black. The natural discoloration is caused by an incorrect alloy mix containing significantly higher amounts of copper. Some collectors like these, as some collectors prefer toned proof coins, and will pay a small premium for them. Usually not, though.
Wallace Silversmiths Inc. began producing sterling flatware in Wallingford, Connecticut in 1871. Company founder Robert Wallace was apprenticed in 1831, when he was 16, to a maker of Britannia metal spoons. Two years later, he rented an old gristmill, powered by Connecticut's Quinnipiac River, and started to make spoons.
In 1835, Wallace learned of a new metal that had been developed in Germany. He traveled to New York City and purchased the formula from a German chemist for $20., then converted his gristmill to produce nickel-based silver spoons.
Under the name R. Wallace & Sons Mfg. Co., the firm introduced the sterling patterns Hawthorne, The Crown, and St. Leon. Designer William Warren's "three-dimensional" patterns included Sir Christopher and Grande Baroque. Wallace eventually acquired the Watson Co., Tuttle Silver Co., and Smith & Smith. Silver patterns: America, Carnation, Carthage, Corinthian, Dauphine, Dawn Mist, Debutante, Discovery, Eton, Evening Mist, Feliciana, Figured Shell, Georgian Colonial, Grand Colonial, Grande Baroque, Hampton, Irian, Juliet, King Christian, Kings, La Reine, Lamerie, Larkspur, Lotus, Louvre, Lucerne, Madison, Meadow Rose, Melanie, Michele, Monterey, My Love, Nile, Normandie, Orange Blossom, Orchid Elegance, Penrose, Peony, Princess Anne, Princess Mary,Puritan, Putnam, Renaissance, Rheims, Rhythm, Romance of the Sea, Rose, Rose Point, Royal Rose, Royal Satin, Saxon, Shenandoah, Silver Swirl, Sir Christopher, Spanish Lace, Sterling Rose, Stradivari, Violet, Waltz of Spring, Washington, Waverly, Windsor Rose, Windsor/Victoria, and Wishing Star.
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.
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.
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!
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.
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.
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 LabelKattie 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 BuyerJon 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 (xlixk the link above.
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.
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.
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.
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.
I believe someday all collectibles will be graded using a 10-point scale, and that this universality will be a factor in making them a recognized investment like stocks and bonds. Grading services will exist for every type of antique or collectible, and these grading services will enable a liquid marketplace for trading in antiques and collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.
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.
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, buyers 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.
I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.
I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your item. As in any collectible, the better the condition of an item, the more valuable it is.
C10 = N : Store Stock New As new and unplayed (there are virtually no 78s that can categorically be claimed to be unplayed).C9 : N- Nearly New, but has been played. No visible signs of wear or damage.
C8 = E+
Plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of sleeves.
C7 = E : Excellent
Still very shiny, near new looking, with no visible signs of wear, but a few inaudible scuffs and scratches. C6 = E-
Still shiny but without the luster of a new record, few light scratches. C5 = V+ V+ is an average 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.
C4 = V : Very Good Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive.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. C2 = G+ Grey throughout but still serviceable. Music begins to sound muffled. Heavy scratches. C1 = G : Good Quite seriously worn and scratched, but music level is still higher than surface noise. 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.
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 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
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.
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.
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.
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.
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.
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.
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
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.
A+
10 on a scale of 1 to 10. (extremely high demand)
Sells within 1 day of hitting the market.
A
9 on a scale of 1 to 10. (very high)
2-5 days to sell.
A-
8 on a scale of 1 to 10. (high) 6-10 days to sell.
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.
B
6 on a scale of 1 to 10. (above average)
30-60 days to sell.
B-
5 on a scale of 1 to 10. (average)
61-90 days to sell.
C+
4 on a scale of 1 to 10. (below average)
91-120 days.
C
3 on a scale of 1 to 10. (low)
181-365 days to sell.
C-
2 on a scale of 1 to 10. (very low)
366-730 days to sell.
D
1 on a scale of 1 to 10. (extremely low)
730+ days to sell.
F
0 on a scale of 1 to 10. (no demand)
No demand at any price. Worthless. Write off.
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.
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.
A+
10 on a scale of 1 to 10. (extremely rare) Unique or less than 5 known to exist.
A
9 on a scale of 1 to 10. (very rare) Rarely available for purchase, once a decade.
A-
8 on a scale of 1 to 10. (rare)
B+
7 on a scale of 1 to 10. (very scarce) Hard to find. Not readily available, requires effort to obtain.
B
6 on a scale of 1 to 10. (scarce) Relatively uncommon, but can be found with some searching.
B-
5 on a scale of 1 to 10. (somewhat scarce)
C
4 on a scale of 1 to 10. (common) Numerous examples available for purchase every day.
C-
3 on a scale of 1 to 10. (very common) Common and with little if any demand
D
2 on a scale of 1 to 10. (extremely common)
F
1 on a scale of 1 to 10. (utterly common) Endless supply, 0 demand. Trash, junk, swill, give to Goodwill
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.
In 1608, the first factory in America --- a glass factory --- was constructed in the Virginia colony of Jamestown. Its backers included Captain John Smith, the London Company in England, and even King James I. Sadly, the venture was doomed from the start. Most of the colonists were stylish gentlemen who refused to work, and the Indians offered no help. Besides, glass bottles were hardly a necessity for colonists in America. So the young country's first factory closed in 1609. But the London Company did not give up. In 1621, another glass factory was opened at Jamestown.
This time, the sponsors decided that the factory's products would include glass beads to trade with the Indians. But only Italian glassmen were experienced in the art of beadmaking. So, in spite of huge risks, eight Italian glassmakers were smuggled out of Venice and taken to the colony.
In 1622, Jamestown was attacked by the Indians and most of the inhabitants were massacred. But the factory was spared because the Indians wished the glassmakers to continue producing beads. Nevertheless, the venture failed yet again.
Eventually, other small glassmaking facilities were opened in New York, Pennsylvania, and Massachusetts. But it was not until 1739 that glassmaking became a full-fledged industry in America. By the time of the Revolution, America glass was famous for its quality throughout the world.
Fangoria Magazine volume 1 number 1 hit the stands in 1979, and is still being published today.
Fangoria back issues are greatly influenced by Fangoria's back-issue department. Many back issues are available directly through Fangoria at very reasonable prices; however, when an issue is no longer available through Fangoria, the value on that particular issue can increase considerably. In come cases, if a collector shops around or attends conventions, copies can be purchased for less than $1 each.
Fangoria is collected both as movie memorabilia as well as science fiction memorabilia. Issues vary in value from $2 - $20 depending on issue and condition.
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.
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.
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 Bowie Knife models and the years they were released.
1952
Model 12 - Bowie Knife (Smithsonian): A replica of the famous Bowie knife of a century ago. Similar to the type displayed in the Smithsonian Institution and used in the motion picture The Iron Mistress.
Model 12 - Bowie Knife (Confederate): Similar to the Bowie carried by Confederate troops in the Civil War. 1953
Model 13 - Arkansas Toothpick: A replica of the historic stiletto-dagger famous in Confederate days. 1954
Model 12 - Bowie Knife (Sportsman): The Sportsman Bowie is made to meet the demands of a heavy-duty sporting knife. 1956
Model 12 - Bowie Knife (Raymond Thorp): Modeled after a design furnished by Raymond W. Thorp, author of The Bowie Knife. Probably the most nearly authentic Bowie style.
Model 12 - Bowie Knife (6-inch Sportsman): A smaller Bowie-type knife for sporting uses. 1960
Model 13 - Arkansas Toothpick (6-inch version): A more compact version of the Arkansas Toothpick. 1964
Model 12 - Bowie Knife (Big Bear): Designed on special order for a big game sportsman who planned to use it for hunting. 1967
Model 12 - Bowie Knife (Little Bear): A more compact 6-inch version of the Big Bear Bowie.
1943 Heiser Sheath
Block Letter Zippo Logo
Zippo Logo Transition from Block to Script
Post 1978 Zippo Logo
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.”
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.
