Valuable Items That Slip Through the Cracks

Valuable Items That Slip Through the Cracks
by Robert Timmons (03/17/09).
http://www.worthpoint.com

When it’s time to liquidate a family estate what are the first things we think of as having value. The dinning room is our first thought for its silverware, crystal and that special dinner ware that you only saw on holidays. Then we hurry into the bedroom and locate the jewelry boxes. After that it’s the furniture, lamps and perhaps those favorite paintings, or pottery.

Traditionally the values have always been highest in these areas and often the other items are over looked. I’m talking about the stuff you find in the back of the chest of drawers, in the closets, on the tables, shelves and throughout the kitchen. Pocket knives, lighters, buttons, old postcards, kitchen gadgets, the old appliances, shop tools, linens, toys, books, record albums, medicine bottles, luggage, costume jewelry, clothing apparel, photo-albums, holiday decorations.

The list is unending because these items are not as important as the fine silver, china or the heirloom desk, but they were part of our everyday fabric of life. You might be surprised to find that all those miscellaneous items can have collectively quite a value.

Here are just a few examples of items that are often overlooked for value:
Pocket Knives:

This is a nice vintage double blade pocket knife marked "IMPERIAL PROV. RI U.S.A." on the 2.2" long blade, with a crown above the mark, the other blades are 1.25" long.

This is a nice vintage double blade pocket knife marked "IMPERIAL PROV. RI U.S.A." on the 2.2" long blade, with a crown above the mark, the other blades are 1.25" long.



The gold washed exterior of this vintage pen knife is elaborately engraved with fanciful scroll and floral work. The smaller of its two blades is marked "Keene New York M.I. Germany."

The gold washed exterior of this vintage pen knife is elaborately engraved with fanciful scroll and floral work. The smaller of its two blades is marked "Keene New York M.I. Germany."



To see this to see this Imperial knifeon GoAntique.com, click here. To see this Keen knife, click here;

Some of the old collectible pocket knives were made by companies like Case, Keen, Buck and Kabar and should not be overlooked. These little knives may be stuck back in a drawer or in old storage box. These are just a few of the collectible makers of pocket knives, which can bring in a tidy little sum: a Keen knife with two blades, the longer of which at 3.5 inches, can bring $45.00; A vintage Buck #301 with three blades, $30; An old Case XX pocket knife with two blades (2.25″), $40.

Not too many people smoke anymore, but the cigarette lighters are very collectible; especially when they are from a well known company or famous designer. Everyone knows Playboy and its classic black-and-white “Bunny” design. The Ronson pocket-style Bunny lighter from the 1950’s is priced from $14 to $18. Ronson makes a slim, classic-style pocket lighter that many companies have used to promote their products, from Coca Cola to power tools. These lighters can sell for $5 to $25.
Pocket Lighters:

Zippo United Fruit Co SS Talamanca Ship Lighter.

This lighter is in very good condition, with only minimal scratching. This item comes with it's original box, which is in good condition also. The box does have some wear, including very slight soiling and edge wear, and a tear in the paper as you can see from our photos. This item is marked Patent # 2032695, indicating that it dates pre-1950s.

Zippo United Fruit Co SS Talamanca Ship Lighter. This lighter is in very good condition, with only minimal scratching. This item comes with it's original box, which is in good condition also. The box does have some wear, including very slight soiling and edge wear, and a tear in the paper.



A Vintage 1959 USS Independence (CVA 62) Town & Country Zippo Lighter. Zippo is Used with wear. Basically, common wear for a lightly used Zippo.

A Vintage 1959 USS Independence (CVA 62) Town & Country Zippo Lighter. Zippo is Used with wear. Basically, common wear for a lightly used Zippo.



To see this Zippo/SS Talamanca lighter on GoAntique.com, click here; to see this USS Independence lighter, click here.

Zippo also made commercial lighters for advertisements and they, like the Ronson, have various collectible prices in today’s market. A simple but classic Zippo Army Lighter can sell for 32.50, and more if the lighter has military emblems or regimens on the outside design. We had at our not too long ago an original Zippo issued from the aircraft carrier USS Franklin D. Roosevelt. We sold it for $55 retail, and it went out so fast that it may have been worth a quite a bit more.
Costume Jewery:

Silvertone music theme cufflink set with a G clef and musical notes motif.

Silvertone music theme cufflink set with a G clef and musical notes motif.





This vintage cuff link and tie pin set is made by Swank with June birthstone.

This vintage cuff link and tie pin set is made by Swank with June birthstone.



To see these musical cuff links on GoAntique.com, click here; to see this Swank/June birthstone set, click here.

One of the other areas of value is in the old jewelry box, after you clean out the good stuff—the diamond rings, gold and silver watches and so forth. What is left is the costume jewelry, cuff links and tie tacks. Basic assortments of costume jewelry made of different metal, glass or plastics can go for $65 to $125, depending on the age and styles. Sometimes even higher amounts for special pieces with designer names like Eisenberg, Weiss, Hobe and Miriam Haskel, just to name a few. A nice 2′-inch brooch by Weiss with imitation pearls sells for $15 to $20. A collection of rhinestone jewelry by Weiss and Kramer can sell for $60 and higher. A nice Hobe brooch, $17.50. A rhinestone ring, signed Hobe, for 27.50. A Eisenberg Ice brooch for $52.50. A Swank sliver with blue stones, cufflinks and tie bar could be valued from $5 to $7.50. On average, the cuff link sets can sell for $2 to $10, depending on the style and age.

These are just a few of the things that slip through the cracks. In most houses, if we go into the kitchen or the garage, we would find a small fortune. We tend to keep the old coffee pots, gadgets and small appliances. There are rows of price guides in bookstores today to help place current values of just about everything ever made for the consumer markets, from decades and decades back. Before you haul all those boxes off to the trash, do a little research. You may find that you have enough value there to take that Caribbean cruise.

Robert Timmons is a general Worthologist.

Happy Birthday, Barbie

Happy Birthday, Barbie

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Vintage Clothing: To Buy or Not to Buy, That is the Question!

Vintage Clothing: To Buy or Not to Buy, That is the Question!
by Sharon Maxwell - Yamamoto (11/17/08).
http://www.worthpoint.com/



Royal blue beaded cardigan.





This is a guide on how to choose vintage clothing, how to wear it, what to avoid and WHY to collect it.

First of all, what is vintage clothing? Some people differ on the definition, but generally, if you look it up, you will find this:

“Vintage clothing is a term for garments originating from another era. Generally speaking, clothing older than 25 years is considered to be vintage, though opinions vary on this definition. Many sellers of vintage clothing consider even more modern pieces to be ‘vintage,’ provided that they are particularly representative of the era in which they were made.”

I tend to agree that 25-years-old and older constitutes “vintage”… until I do the math and realize that the clothes I wore in my “heyday” are now included within this timeframe. Personally, I classify clothing from 1970 and older to be vintage, until we go backward far enough to become “antique.” All too soon, those clothes I still have from the 1980’s will truly be vintage, and then I myself will have become “antique!”

There are several avenues one can explore in the search for vintage clothing, the most common being estate and garage sales, vintage clothing and thrift stores, and the ever-popular online auction sites, the latter being the largest and most convenient venue for buying and selling vintage items. No matter where you go, there are a few things you need to know in order to be able to discern the difference between trash and treasure.

First, unless you have the skill and time to spend refurbishing a vintage piece, avoid things with stains, holes, fraying of seams and linings, or missing parts (beads, sequins, buttons, etc.). Above all, if you get a whiff of mothballs, run the other way. No amount of washing or dry cleaning will remove that smell. The same goes with smoke, unless it’s very faint and you are not bothered by it. Fur, in particular, will never let go of unpleasant odors, so don’t buy something with the promise that “dry cleaning will take those stains and odors right out.” If a seller/shopkeeper tells you that, run, or click out of that site—nobody can truly know if a dry cleaning will remove a stain and old; “vintage” stains never come out, in my experience. Mild yellowing can be soaked out, but be prepared to change the water over and over many times, for about a week, using many scoops of Biz. All that work, and there is still no guarantee of success.


A leopard pattern coat and outfit]



So, if you are set on wearing your vintage clothing as soon as you buy it, in addition to the aforementioned, look for the following things:

• Items with no wrinkles in the linings, indicating the item may never have been worn.
• Crisp labels, with no stitches out, again an indication that an item was very gently or never worn.
• All buttons and hooks/eyes sewn tightly, not hanging, yet another sign of an item being new/old.
• Linings not hanging below the outer garment fabric (eliminating the need to re-hem).

Fit is very important when debating whether or not to buy a vintage garment. If it’s too tight and you buy it just because it’s adorable, you may very well tear it under the arms or across the back shoulder seams due to the fabric being old and possibly not as strong as it was when it was new.

Many people look at vintage clothing and say they like it, but can’t imagine themselves wearing it. My answer to that is that there is no special time or occasion to wear vintage; these things are meant to be enjoyed, and one need not be wearing vintage from head to toe in order for it to make sense. My idea is to wear simple, well-fitting, understated clothing as the basis for the outfit, such as a black or neutral skirt or pair of slacks with a simple top or sweater. A fabulous vintage beaded cardigan, swing coat, fur jacket, collar or boa, along with a pert little vintage hat and special purse, can be plenty to identify you as a lover of vintage clothing and draw lots of attention and compliments. A vintage brooch and earrings and pair of glasses or lorgnette (for menu-reading), or using a vintage compact and lipstick can make one stand out at the dinner table as well.

You don’t have to be a size 2 to wear the above-mentioned items, but lucky you if you are! “Wiggle dresses” are all the rage now, but sadly, I have a bit too much “wiggle” to wear those vintage dresses. That is why I specifically concentrate on outerwear and accessories to satisfy my vintage appetite.



A lorgnette with chain.


As far as knowing what to “collect,” do your homework and look, look, look BEFORE you buy. True collectibles will be clearly indicative of an era, such as the sharp shoulders and fitted silhouette of the 1940’s, the swing coat of the 1950’s, the ring collar of the 1960’s, all things that will make people recognize that what you have is truly vintage and prompt them to say, “they don’t make ’em like that anymore!” You may see an item you like, then discover that it’s everywhere and not really unique, so don’t make impulse buys unless your gut tells you it’s special. If you buy everything you see that you like, you will end up with a lot of very ordinary things and not have money for the big special one that is probably around the next corner.

Everybody wants a bargain, and sometimes you will hit the jackpot and pay next to nothing for something fabulous, but there are times when you will understand that a high price must be paid for the uniqueness of an item in mint condition. If it makes you feel like a star when you put it on, fits like it was made for you and makes the other people around you say “OMG,” you MUST buy it! There are times to bargain and times when you should just pay, grab it and run before somebody else does.

Lastly, people ask WHY we should wear/collect vintage clothing. I think that by acquiring and caring for a vintage item, we honor the person who carefully kept the beautiful treasure for so many years. For me, there is a sadness as well as happiness in collecting these things. I always silently apologize to the original owner for taking her precious things, but then I promise in my heart that I will guard and care for her treasures and show the world the beauty of the past by wearing and using them. Vintage clothing is history, and we must study it, collect it, and never forget it.

Sharon Maxwell-Yamamotot is a Worthologist who specializes in vintage clothing and accessories.

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The Keys to Antique Furniture Locks

The Keys to Antique Furniture Locks

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Tips On Buying Antique Furniture

Tips on buying antique furniture
February 18, 2009by www.iantiqueonline.com
SOURCE: http://www.iantiqueonline.comAnybody can find antique furniture to fit any decor, from country to contemporary. Let the buyer beware: Reproductions abound in the furniture field. Do your homework to make sure you’re purchasing the real dealStep 1Become familiar with terms like cabriole legs that you’re going to come across in advertisements and auction catalogs. (By the way, cabriole legs curve out like a cowboy’s after sitting too long in the saddle.)Step 2Study the names (there can be more than one) of the styles you like best. Sellers classify their furniture by style: Louis XV, Queen Anne, Chippendale and so on.Step 3Check the antiques section of your local bookstore or library for reference guides. The Internet is another good source for information and photographs of different furniture styles.Step 4Visit a local museum. Seeing antique furniture up close will help you identify it in the field. Ask the curator for the names of trustworthy local dealers.Step 5Learn to spot features that could affect the value of a piece such as damaged finish or joints, or unauthentic hardware. Other important characteristics to look at for authenticity are: - The size of the boards on tabletops, bureaus and dressers. - Saw marks on the backs of chests and under tables. - Secondary wood inside drawers and on dresser backs. - Original paint finish exposing some cracks and original material. - Antique glass on mirrors should be very thin. - Wormholes on the surface of any wood piece.Step 6Get to know the local antique dealers and show them your wish list. They’ll have contacts in other cities and states who can further your search. They will also be able to help you recognize a reproduction.Step 7Go to an auction. For top-quality, top-dollar furniture, choose an auction house that guarantees what it sells. If you’re not looking for a museum-quality piece, try a country auction, where you could find a bargain.Step 8Watch for estate sales. If you’re lucky, a family member will be at the sale to tell you about the piece’s provenance or history.Step 9Look through antiquing newspapers and magazines for ads, or search the Internet for antique fairs specializing in furniture.Step 10Curb your desire for perfection in a piece of furniture that might be more than 100 years old. It should show signs of wear in places where you’d expect it, like the bottoms of chair legs and underneath drawer runners.Know your stuff• Definitions vary, especially regarding more recent items, but generally speaking, an antique is at least 100 years old. Everything newer than that falls into the collectible category.• Buy pieces you can use. Few of us have extra rooms we can fill with an untouchable collection of antique furniture.• If you know how to date a piece of furniture, you won’t fall for a reproduction. Read one of the many books on the subject.

The Tale of Old Nails

The Tale of Old Nails
How nails and nail holes can help date a piece of antique furniture
By Fred TaylorWorthPoint Worthologist

This is a piece of 1/8-inch square rolled iron nail stock that was used by a “nailer” to hammer out a handmade nail.
One of the key ingredients in the process of determining the age of a piece of older or antique furniture is how the wood is assembled to produce this functional work of art. Drawers are typically put together using various methods of wood joinery, i.e. dovetails, scallop joints or rabbets. Older case goods generally employ mortise and tenon joints, as do old chairs and doors. But the most straightforward method of all construction techniques is the use of a fastener, an external device that holds two pieces of wood together without additional shaping of the wood and the simplest fastener is a nail—in essence a tapered metal dowel inserted by the brute force of a hammer blow.
Nails, of course, have been around for thousands of years, but their general application to furniture making is fairly recent. Until modern times all nails were hand made, one at a time by a blacksmith or a specialist, called a “nailer.” But since nails are such useful items, not just for furniture but for general building applications, it is not surprising that some of the first modern machinery was devoted to the manufacture of nails.

These are hand-made iron nails from the 18th century. Note the “rosehead” hammered head and the sharp point.
In the American Colonies, one of the early industries to be well established, after glassmaking and spirits distilling, was the nail stock business. Up and down the East coast as early as the late 17th century, rolling mills turned out long, thin, square pieces of iron called nail stock, to be sent to the local nailer.
The nailer then heated a section of the stock and pounded out a point on all four sides. After cutting to length the section was inserted in hole on the anvil called a “swage” block and the head of the nail formed by repeated blows to the top of the nail, giving it the “rosehead” look we identify with hand made nails. A lot of work for just one nail.
But this method had its rewards. The pounding of the nail to shape it made the iron denser and thus more water resistant and durable, as well as malleable (bendable). This malleability was one of the key factors in the success of the handmade nail; it was so flexible that as it was driven into a piece of wood it followed the internal grain pattern, often in an arc, and thus provided a clinching effect that help hold the nailed joint very tightly. The hand-wrought iron rosehead nails leave a very identifiable clue—a square hole—when they are removed from wood. No other type of nail leaves a square hole.
By the early 1800’s, nail cutting machines were in general use in America. These early machines cut angular strips from a thin sheet of metal resulting in a nail with two parallel sides, representing the thickness of the sheet of metal, and two cut angular sides forming the point. The heads still had to be hammered by hand and these nails are easily confused with hand-wrought nails because they both have hand hammered rose-like heads. The difference is in the shape of the hole. The machine made nails leave rectangular holes which are easily distinguished from the square marks of the earliest nails. This type of nail is the kind frequently found in early 19th century Federal and American Empire furniture and just as frequently misidentified as hand wrought.

These nails were all cut from a sheet of iron. The top nail with the “notch” head is from the early 19th century. The middle nail with the rectangular flat head is from around 1830/1840.
Another type of early nail merely had a notch as the head. This wasn’t very effective but it was quick and cheap and machine cut nails became a staple of both the construction industry and the furniture building trade. An even better nail came around 1830. The machines by now were producing nails that actually had flattened protruding surfaces to function as the head. These were made by a single, forceful impact on the top of the nail by the machinery itself and no human work was required. As erratic and small as these new heads were, they were still the best yet.
By the 1840’s, the nail making technology settled down to making the best cut nail yet. This mid-century nail had a large, uniform, machine-made head and it became the standard nail for more than 50 years, and it continued to leave the characteristic rectangular hole. These nails are ones found in late Classicism (C-scroll Empire) and Victorian furniture throughout the rest of the 19th century. As good as these nails were however, they did have a drawback. They did not benefit from the hand pounding reserved for the making of hand wrought nails and thus were more brittle than earlier nails. This stiffness meant that they did not have the same internal clinching power as their predecessors and tended to snap off under duress rather than bend.

This is the standard wire nail first introduced around 1880.
Around 1880 came the next major leap in nail development. A machine was invented that produced a round nail drawn from a piece of steel wire and formed with a perfectly circular, stamped head and a sharp, cut point. This does not mean that all cabinet shops instantly stopped using cut nails when the new style showed up. Cut nails continued to be used early into the 20th century until existing stocks were used up. And hand-wrought nails continued to be made throughout the 19th century for certain specialty applications, such as gate building and other instances where the benefits of the clinching nail outweighed the cost of hand production.
But in the end the round wire nail became the universal standard and still is today. It represents a technology that is still in use and virtually unchanged for more than 100 years; quite a rarity at the beginning of the 21st century.
Even if the nail itself is missing in a piece of furniture, you can sometimes determine its origin by the hole it leaves. Handmade nails leave square holes, cut nails leave rectangular holes and wire nails leave round holes.

Each type of nail leaves its signature hole.
Fred Taylor is a Worthologist who specializes in American furniture from the Late Classicism period (1830-1850).
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This entry was written by Fred Taylor, posted on February 2, 2009 at 1:04 pm, filed under Blog Entry, Furniture, Furniture and Furnishings and tagged American Empire furniture, antique furniture, C-scroll Empire furniture, Classicism furniture, cut nails, Federal style furniture, Fred Taylor, hand-wrought nails, history of nails, nail cutting machines, nailer, nails, rosehead nails, Victorian furniture, Worthpoint. Bookmark the permalink. Follow any comments here with the RSS feed for this post. Post a comment or leave a trackback: Trackback URL.
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