Figural Cast-Iron Doorstops: 5 Brands To Know

Charles Dickens once wrote, “A very little key will open a very heavy door.” And a small cast-iron doorstop can keep it ajar while also being stylish and collectible.

According to the Encyclopedia Britannica, the advent of modern cast-iron doorstops came about in the mid-18th century, when a type of hinge was added to doors to allow for automatic closure. A door that closed by itself was undoubtedly a helpful innovation, however, there were times when an open door was necessary and desired. Enter the doorstop.

Doorstops of brass or other metals were commonplace in the early part of the 18th century, but it was the use of cast iron in the production of doorstops that changed the trajectory of stops, also known as chucks, wedges and blocks, among other things.

The first doorstops were not fanciful in design, but it didn’t take too long before figural images became standard in doorstop production. As was the case with more than a few objects of the past, being utilitarian didn’t mean visual appeal had to be sacrificed. They could blend harmoniously.

Sought-after hand painted casting of a young girl stepping over flowers, strong retention of paint, one of many variations of this doorstop created by Littco Productions (est. $1,800-$2,500). Lot #112 in Bertoia Auctions’ Nov. 11 sale. Bertoia Auctions and LiveAuctioneers image

The versatility of figural doorstop design also lends to its appeal among collectors of other types of objects. A perfect example of crossover collectibles, figural doorstops boast designs related to everything from Americana, nautical and floral themes to entertainment characters, folk art, animals and nature.

COLLECTING TIP – Many vintage models of original doorstops have a smoother casting, as opposed to a rougher surface that is sometimes seen in reproductions.

Several companies have produced doorstops over the past two centuries, and in many instances, doorstops were a secondary, albeit successful, sideline. Among the most prolific producers were Bradley & Hubbard, Hubley, Littco, and Judd Co. Also, one of the revered designers of doorstops was Anne Fish. Here we’ll look at the contributions each made to doorstop history.

Bradley & Hubbard Mgf. Co.

When Nathaniel and William L. Bradley, Walter Hubbard, and Orson and Chitten Hatch formed a partnership in 1852, the focus of their output was clocks. Just two years later, the Hatch brothers stepped away, leaving the Bradley brothers and Hubbard to move forward as Bradley and Hubbard. While production of clocks remained the company’s top priority, they expanded operations to manufacture call bells and sewing machines. The company also made flags, hoopskirts and match safes, all within the first few years of operation. In the years that followed, the company became a leader in the production of kerosene lamps and architectural elements, including grilles, railings, fences, doorstops, and lighting fixtures. The company was sold to Charles Parker Company in 1940. Although it’s hard to determine precisely when the Bradley and Hubbard division of the Parker Company ceased to operate, but by 1950 there was no longer any mention of the division in the company’s product catalogs.

Huckleberry Finn-type whistling boy figure cast-iron doorstop, detailed casting, both rubber knobs intact, good retention of paint, from the Jeanne Bertoia Collection, sold for $22,420 during a March 2016 auction at Bertoia Auctions. Bertoia Auctions and LiveAuctioneers image

Hubley

Located in a region known for iron mining during the 19th century, it’s no wonder that in 1894 the Hubley Manufacturing Company in Lancaster, Pennsylvania, would become involved in cast iron production. Hubley was an early manufacturer of cast iron toys. Hubley cast iron toy vehicles were popular when they were new, and are even more so today as collectors’ items. Applying some of the techniques and processes used to produce cast-iron toys proved profitable for Hubley when it ventured into doorstops. Molds were used in the mass production of doorstops, but each was painted by hand. Many subjects were depicted in Hubley’s doorstops, and they were especially well known for their dogs. There were few canine breeds overlooked by Hubley, and in each case, great attention was paid to the small details. Other motifs of Hubley doorstops popular with collectors are flower baskets, nautical themes, and other types of animals.

Hubley doorstop featuring two quail perched on a branch surrounded by tall grass, realistic details, marked Everett 34 on the front, created by revered doorstop designer Fred Everett, (est. $400-$600). Lot #181 in Bertoia Auctions’ Nov. 11 sale. Bertoia Auctions and LiveAuctioneers image

COLLECTING TIP – Original doorstops were put together using slotted screws, not the more modern types of screws.

Littco: Beginning as Littlestown Hardware and Foundry Company, Inc., in 1916, the unit known as Littco Productions was responsible for producing decorative cast iron doorstops and bookends, hammers, and fireplace accessories, among other items. The creation of decorative cast-iron objects, including doorstops, was a big part of the firm’s business until the early 1940s. World War II, changed the company’s focus, as it did for many manufacturers. Much of the company’s output would now support the war effort. The company did iron casting until 1990, when its operation turned to aluminum casting, as it remains today.

One of only four known original Halloween girl cast-iron doorstops made by Littco Products, provenance: the Jeanne Bertoia Collection, sold for $29,500 during a March 2016 auction at Bertoia Auctions. Bertoia Auctions and LiveAuctioneers image

Judd Manufacturing Company: Doorstops made by this Connecticut-based company often bear a maker’s mark of “cjo,” and carry with them a rich history of casting in iron, brass, and bronze. The company established itself in 1933 as a harness manufacturer. Ownership and production lines changed as the 19th century progressed. In 1910, the company began manufacturing bookends, book racks and doorstops, among other objects. These production lines continued until the late 1930s.

Heavy cast-iron doorstop manufactured by Judd Co., depicting a boy in lederhosen holding two large baskets of flowers (est. $200-$300). Lot #118 in Bertoia Auctions’ Nov. 11 sale. Bertoia Auctions and LiveAuctioneers image

COLLECTING TIP – View as many collections and presentations of doorstops as possible, to become familiar with the look and style of various manufacturers. A great place to view a significant number of doorstops is http://www.BertoiaAuctions.com. Jeanne Bertoia, owner of Bertoia Auctions, amassed one of the most admired of all doorstop collections, and she is considered one of the top experts in the field. Bertoia Auctions continues to bring premier doorstop collections to auction. For example, more than 55 of the more than 1,300 lots in Bertoia Auctions’ Nov. 11-12 Signature Sale are doorstops.

Anne Fish: With her considerable talents as a cartoonist and illustrator, British artist Anne Harriet Fish expanded her artistic repertoire by working with both the Fulper pottery works and the Hubley company. Her application of Art Deco style can be seen in various examples of Hubley cast-iron works, including doorstops. Fish-designed doorstops are among the most sought after by today’s collectors.

Even in the age of central air conditioning, vintage doorstops still have a place in the home, whether the objective is to prop open a door, to add a decorative touch to a room – or both.

Extremely scarce Bathing Beauties cast-iron doorstop issued by Hubley, created by Anne Fish and signed Fish 250, Art Deco design, sold for $10,350 in 2011 through Bertoia Auctions. Bertoia Auctions and LiveAuctioneers image

Teapots: Steeped in History and Culture

As is often the case with antiquities, the objects themselves tell a story of the past and reflect their influence on the present. The teapot is one such storyteller.
Centuries before teapots were in use, people were drinking tea, but differently. In third-century China, the earliest method did not involve steeping the tea leaves, but rather, roasting them, forming them into a paste, then molding the paste into a cake which was boiled into a finished product that resembled soup. With that being the case, there didn’t seem to be a need for a teapot.
The process of preparing tea evolved into pounding tea leaves into a powder, placing the powder into a cup and pouring boiling water over it. The tradition of the tea service was an outgrowth of this change.

Early Rookwood lidded teapot with Limoges-style decoration of two bunnies on one side and flying bats on the other, most likely the work of Maria Longworth Nicholas, circa 1881. To be auctioned Nov. 3 by Humler & Nolan. Estimate: $2,000-$2,500). Image courtesy of LiveAuctioneers.com and Humler & Nolan

Arguably the first teapot was created in the Jiangsu province of China in 1500. Early teapots from this region were “Yixing” teapots. In Chinese, this translates to “purple sand pot,” a reference to the distinctive purple sand clay that was plentiful in that area and used in earthenware vessels. It wasn’t surprising that the earliest recorded teapots would come from this part of the world, as the Jiangsu province was prolific in the production of porcelain vessels in the 16th century and into the early Qing Dynasty (1644-1911).

The evolution of tea preparation led to a substantially successful period for makers of Yixing teapots. The mineral composition of the “zisha” (purple sand) clay of the region was considered the finest of all types for use in tea-brewing vessels. Zisha clay is very porous and allows for significant absorption and retention of the tea’s flavor.

Tea Legend: Because of the porous nature of the clay used to make Yixing teapots, it is said that after preparing tea in the same pot several times, one can simply add water to boil in the pot without tea leaves, as the flavor retained by the pot during past brewings will render a quality cup of tea.

As awareness of the Yixing pot spread throughout Asia, there was an increased demand for not only the pots, but also knowledge of how the earthen pots were made. This awareness led to new influences being incorporated into the manufacturing process, resulting in a more elegant design. It also marked the period in history when Europe became familiar with Chinese porcelain, including teapots.

Veilleuse teapot in a rich brown color featuring medallions with intricate design, set atop a globular stand of the same color and three floriated feet. Acquired in Rome and presently on display within the Trenton Teapot Collection. Image courtesy City of Trenton, Tennessee

In the 17th century, the East India Company brought its profitable imports to Europe. However, European manufactories were not familiar with the techniques that produced zisha pots. The oft-accepted process of making porcelain in Europe involved mixing glass-like materials with clay. Unfortunately, “soft-paste” porcelain teapots were known to crack and explode when boiling water was poured into them.

Things changed dramatically in 1705 when an “imprisoned” young alchemist and an experienced scientist were brought together with the purpose of developing a formula and technique for creating “hard paste” porcelain. This opened the door to European production of a much-sought-after commodity. At the time, 18-year-old Johann Friedrich Bottger was under house arrest, not for what he had done as an alchemist, but for what he might be up to regarding the development of gold. At the same time, Ehrenfried Walter von Tschirnhaus, a scientist, was two decades into an effort to learn how porcelain was made. At Tschirnhaus’ suggestion, Bottger was escorted by a guard to the scientist’s lab, where the two began collaborating on a porcelain project. They worked together until 1708, when Tschirnhaus died from dysentery. That same year, production of European porcelain, using the formula the two had developed, began in Meissen, Germany. The public’s first opportunity to purchase pieces took place at the Leipzig Easter Fair in 1710.

In short order, regions across Europe began delving into the production of teapots as well as other porcelain objects, and the industry began to flourish. In part, the popularity of the quality European porcelain grew through its availability, not only in quantity but also in affordability. Tea and teapots may not have bridged the gap between the upper and middle socio-economic classes within Europe, but it did allow for people of varying backgrounds to enjoy one common pleasure: tea served from a teapot.

Georgian George III sterling silver teapot in classic oval cann-shape form, on simple oval stand, circa 1784, England. Auctioned for $3,200 on April 2, 2017. Jasper52 image

With the porcelain formula now widely known, production moved at a steady clip, and the public was embracing tea and teapots with unmatched fervor. Creativity in design and new efficiencies in production were seen. This is visible in the forms of the teapots, the glazes, and novel designs, including Swinton Pottery’s iconic Brown Betty teapot. Like the famous Yixing teapots, the Brown Betty came from red clay, which also provides for substantial retention of heat. The Brown Betty was simple in design but a model of efficiency in producing a good cup of tea.
“Have tea and teapot, will travel,” may not have been the motto of the British colonists heading to what would eventually become America to start a new life, but the taste for tea and appreciation for teapots was not something they would leave behind. Of course, colonists would soon discover what Native Americans had known for centuries, that clay (an essential resource in porcelain and pottery-making) was both abundant and varied in composition within the “New World.” Additionally, North America had the natural resources for fuel, in the form of wood from its vast forests. By 1850, in New England alone, there were more than 500 potters actively working.

Pair of Meissen decorative teapots, late 19th/early 20th century, hand-painted with hinged, chained handle arching over the teapots, finished with gold trim, Meissen marks on bottom. Auctioned for $300 in October 2015. Image courtesy LiveAuctioneers.com Archive and Akiba Auctions

It wasn’t just in the East that American pottery production was booming. As people began to travel west and settle, potteries were established and teapots continued to be created. Again, the evolution of brewing and serving tea led to changes in teapot production. The development of the teabag in the first quarter of the 20th century simplified tea-brewing, as it eliminated the need for some accessories, such as strainers.
As time has gone on, teapots have evolved from functional wares to collectibles. One of the most impressive collections of teapots may be viewed in a small community in western Tennessee. The collection, amassed by Trenton’s native son, the late Dr. Frederick Freed, showcases porcelain veilleuses-théières, meaning night- or side-light teapots. This style of the teapot is unique in that the warming stand upon which the teapot sits is not the sleek and short style commonly seen, but instead, one that can measure more twice the height of the teapot, which on average would hold two to three cups of a beverage. The veilleuse came about as a means of providing warm beverages during the night, for patients and youngsters. A dish of oil was placed in the stand, and when lit, it would serve as a warming device for the porcelain pot.

The Trenton teapot collection includes 650 examples, all made between 1750 and 1860 and acquired by Dr. Freed during his travels to France and Germany. The collection is valued at $8 million.

Veilleuse teapot in a rich brown color featuring medallions with intricate design, set atop a globular stand of the same color and three floriated feet. Acquired in Rome and presently on display within the Trenton Teapot Collection. Image courtesy City of Trenton, Tennessee

Beginning in 1955 and over the course of several years, Dr. Freed donated his collection of teapots to the City of Trenton. All these years later Dr. Freed’s gift of conservatorship of his collection continues to draw visitors and tourism dollars to the Tennessee community. An estimated 3,000 people are said travel to Trenton each year just to view the rare pots.

Trenton Teapot Collection: The Trenton Teapot Collection is located at Trenton City Hall in Trenton, Tennessee. The museum is open weekly from 9 a.m. until 5 p.m., and admission is free. The community of Trenton will hold its 38th Annual Trenton Teapot Festival in April of 2018.
Whether they are ancient Chinese Yixing vessels, early Meissen designs, or decorative mid-20th-century productions, teapots perpetuate the fascinating story of how an Eastern invention became a staple of Western life.

Jaeger-LeCoultre: Always On Time

While some people dread the onset of winter, it’s this season that gave rise to what would become Jaeger-LeCoultre, a pioneer in the production of fine timepieces.

In the 18th century in a Swiss valley community, Abraham-Joseph LeCoultre built a forge that, many years later, would evolve into the workshop and headquarters for a world-famous company established by his son, Antoine. In addition to his work as a blacksmith, the elder LeCoultre was also a farmer and a beekeeper, which influenced his understanding of both mechanical operations and natural design. At the forge, LeCoultre and his neighbors spent many a winter’s evening creating movement blanks, dials and pinions for watches. They were also well known for their expertise in lapidary, which aided their ability to create watches of great precision.

Jaeger-LeCoultre Atmos 561 by Marc Newson clock, a one-of-a-kind timepiece created for the ‘Jony and Marc’s (RED) Auction’ of 2013, benefitting the (RED) organization, through Sotheby’s. The clock is made of Cristal de Baccarat with rhodium-plated feet, and sold for $425,000, surpassing an estimate of $20,000-$30,000. Image courtesy Sotheby’s

In 1833, Antoine took the knowledge he had amassed from 30 years of working with his father and founded LeCoultre Manufacture. Innovation was at the company’s core. Antoine invented at least two revolutionary items within the first 15 years in operation: the Millionometre and a crown-winding operation. The first invention allowed for accurate measurement to a thousandth of a millimeter. This development ultimately led to widespread adoption of the metric system by the Swiss watchmaking industry. The other innovation, a crown-winding system, superseded the key-wind approach previously used to set time. A variation of this system is still in use in modern-made mechanical watches.

Jaeger-LeCoultre Master Perpetual watch, manual-wind movement, skeleton dial, gold hands, watch case and butterfly clasp of 18K rose gold, original brown leather strap, circa 2008, auctioned in 2014 for $35,377. Image courtesy LiveAuctioneers Archive and Auctionata Paddle 8 AG

Award-Winning Moment: Displaying in 1851 at The Great Exhibition in London, Antoine LeCoultre received a gold medal for a gold chronometer. The recognition was the first of many accolades the company would receive for precision mechanics in timekeeping.

At the turn of the 20th century, the company’s management passed into the hands of a new generation. Renowned watchmaker Jacques-David LeCoultre assumed the helm following his grandfather Antoine’s passing. Until his own demise in 1948, Jacques-David was instrumental in developing and expanding the company.

Significant to its growth, LeCoultre & Cie started creating movements for other premier watchmakers, including Vacheron Constantin, Audemars Piguet, and the firm’s first client, Patek Philippe.

Royal Wearers: Queen Elizabeth II is said to have worn one of LeCoultre & Cie’s revolutionary timepieces known as the Duoplan Calibre during her coronation in 1953. With 74 parts, the Calibre weighed in at only one gram.

Jaeger-LeCoultre Master Ultra-Thin wristwatch featuring a stainless steel case, signed manual-wind caliber 839, silvered dial with baton hour markers and quarterly Arabic numerals, and a brown caiman strap. Entered in Fellows’ Oct. 31, 2017 auction. Estimate: $1,400-$2,100. Image courtesy Fellows and LiveAuctioneers

As the 20th century ticked forward, another watchmaker, Edmond Jaeger, was implementing new timekeeping methods of his own and, not unlike LeCoultre & Cie., was supplying other prestigious makers – in Jaeger’s case, Cartier.

Over time, the competitors would collaborate to design the first watches for use by civilian and military pilots during World War I. The two companies formally merged as a single operation in 1937.

Jaeger-LeCoultre’s timepiece innovations include: A durable timepiece with a clever face-flipping mechanism used to protect the crystal (it’s said this model – the Reverso – was created in response to a polo team’s problem with watch faces incurring damage while on the playing field); the first 100% automatic watch without a winding-crown; the water-resistant Geophysic chronometer, which is impervious to magnetic fields and shock; a timepiece with a built-in alarm (Memovox) that sounds like the ring of a vintage telephone; and development of the world’s first diver’s watch with a built-in alarm (Deep Sea) to remind a diver when it was time to surface. The company also participated in the creation of the first quartz wristwatch in 1967.

Vintage Jaeger-LeCoultre 25.0-carat round, brilliant and baguette-cut diamond and platinum bracelet watch, auctioned for $20,000 in April 2017. Image courtesy LiveAuctioneers Archive and Kodner Galleries, Inc.

Jaeger-LeCoultre’s Famous Fans: Silent film icon Charlie Chaplin, superhero and leading man Robert Downey Jr., Mad Men television actress January Jones, Academy Award-winning actor, screenwriter and producer Matt Damon; Game of Thrones star Kit Harrington, actress and model Diane Krueger, comedian and actor Steve Carrell, music mogul Jay-Z, and singer and songwriter Kelly Clarkson, among others.

In fact, Charlie Chaplin’s appreciation for Jaeger-LeCoulter timepieces is a showpiece of the museum Chaplin’s World, which opened in Switzerland in 2016. According to a report by Forbes, the watch, a Jaeger-LeCoultre Memovox, was presented to Chaplin in 1953. The back is inscribed: Hommage du gouvernement Vaudois à Charlie Chaplin – 6 octobre 1953. The watch was discovered by crews during renovation of the house in which Chaplin and his family resided. The house is now the museum.

Enjoy this video about Chaplin’s storied watch:

A Jaeger-LeCoultre watch purchased new today costs a minimum of around $5,000 up to $2.5 million. On the secondary market, the most paid for a Jaeger-LeCoultre was $425,000. The custom Atmos 561 features uncommon red accents and sold during a Sotheby’s auction in 2013. The watch was one of two Jaeger-LeCoultre models sold to benefit musician Bono’s charity (RED).

From humble beginnings in a small Swiss village to appearing on the wrists of Hollywood heavyweights, Jaeger-LeCoultre timepieces not only keep time, they’ve set the pace in precision mechanics for nearly 185 years.

Schoenhut: From Tiny Pianos To Legendary Toys

German immigrant Albert Schoenhut not only lived the American dream, but he made childhood much more fun for generations of children in his adopted homeland.
Born into a family of toymakers, Schoenhut’s lot in life emerged early on. Even as a child, Albert was already picking up the skills to make toy pianos in the family home located in Göppingen, Germany. As a third-generation toymaker, Schoenhut learned the craft of making wooden dolls, circus figures, complete playsets and games from his father and grandfather. At the age of 17, he had narrowed his focus to toy pianos. His talent resulted in a job offer from America and Schoenhut’s solo immigration to Philadelphia, where he worked for Wanamaker’s department store. His work consisted of repairing German toy pianos imported to the United States, beginning in the 1860s.

Lot featuring all three sizes of jointed-wood Felix the Cat dolls manufactured by Schoenhut, auctioned for $850 in October 2009. LiveAuctioneers and Dan Morphy Auctions image

History Highlight: Composer John Cage put Schoenhut Toy Co.’s toy pianos in the spotlight on the concert stage in 1948 with his Suite for Toy Piano. Enjoy a performance of this special composition:

In 1897, Schoenhut went off on his own, forming A. Schoenhut Company, Manufacturer of Toys and Novelties. He wasn’t alone. It’s reported in the 1900 Census that at least 500 toy manufacturers were operating within the United States. As the 20th century got under way, Albert Schoenhut’s $100 acquisition of a toy clown patent set the course for what would become one of his company’s most prolific toy lines. Schoenhut’s Humpty Dumpty Circus, with its various jointed animal and clown figures, and other circus accessories, opened the door to playset popularity.

Schoenhut Humpty Dumpty Circus playset from the turn of the 20th century, featuring a circus tent, circus ring, original flags, 12 figures: dancer, clowns, animal trainers; and 18 animal figures, sold for 8,000 Euro ($9,425). Provenance: Rothenburg Doll and Toy Museum, Rothenburg ob der Tauber, Germany

History Highlight: The German community where the Schoenhut family of toymakers produced playthings was no stranger to timeless toy production, as toymaking firm Märklin also operated in Göppingen, Germany.

The Humpty Dumpty Circus was a hit with children, parents and teachers alike. The ability to create scenes inspired by the real-life big-top circuses of the day captured the attention of all ages. The retail availability of various figures, which could be purchased individually, created an affordable way for parents to provide their children with toys for creative play.
The Humpty Dumpty Circus toy line was in production from 1903 through 1935. Various museums include or have featured displays/figures of Humpty Dumpty Circus playsets in exhibitions, including:
• The Strong National Museum of Play www.museumofplay.org
• NC Museum of Dolls, Toys & Miniatures www.spencerdollandtoymuseum.com
• New-York Historical Society Museum & Library www.nyhistory.org
• Philadelphia History Museum www.philadelphiahistory.org

Rare, circa 1906 painted-wood toy boat, Schoenhut Co., with cardboard cloth covered canopy and composition figures seated in the bow, keywind mechanism, accompanied by original box, entered in Bertoia’s Nov. 11, 2017 auction. LiveAuctioneers and Bertoia Auctions image

Tip: The Schoenhut Collectors Club is an active organization supporting the practice of collecting, preserving, and researching toys, dolls, and games created by the A. Schoenhut Co., and successor companies. The club hosts an annual fall convention. http://www.schoenhutcollectorsclub.org

Another evolution of the A. Schoenhut Company’s toy production was the “All Wood Perfection Art Doll.” The first model, marketed in 1911, featured steel spring hinges for joints and a basswood head designed by a revered Italian sculptor of the day. The Wood Perfection Art Doll became a top seller during the 1910s, even with the impact of World War I. Before his death in 1912, Albert Schoenhut saw his company progress into various new avenues of toy production and reach its 40th anniversary.
However, the company succumbed to the same fate as many other American businesses impacted by the Great Depression. In 1934, the company entered bankruptcy. Although many of the company’s buildings were sold during liquidating auctions, a few did not sell. In 1935, Albert Schoenhut’s youngest son and one of his grandsons formed the O. Schoenhut Company (after the son, Otto). The company produced Pinn Family Dolls in Philadelphia until the 1970s. In 1984 the company was purchased by Frank Trinca. This iteration of the Schoenhut company was also a family operation, and taking it full circle, brothers Frank and Len Trinca shifted the focus right back to where it began: toy pianos. Now doing business as the Schoenhut Piano Company, the company is revered for the quality of musical instruments it produces.
As they say, everything old is new again.

Roy Lichtenstein: Pop Art with a Comic Book Twist

Oct. 27 marks the 94th anniversary of Roy Fox Lichtenstein’s birth. The pop art trailblazer was born in 1923 and lived to age 73, leaving an immense body of compelling, in-your-face art that appeals to anyone who loves comic-book-style graphics – and isn’t that just about everyone?

Immense, in this instance, means more than 5,000 pieces created over a period of three decades. Often regaled for his prints, Lichtenstein’s creations also included paintings, drawings, murals, and sculptures, among other types of art.

Roy Lichtenstein, Brushstroke Nude, 1993, painted cast aluminum, sold by Phillips in a May 10, 2012 auction for $4.8 million. Image courtesy of LiveAuctioneers.com Archive and Phillips

His appreciation for artistic expression formed early in his childhood in New York. His mother, Beatrice, was a homemaker with training as a pianist, and it is said that she made it a priority to expose her children – Roy and younger sister Rénee – to as much artistic culture as the city could offer. This inspired Lichtenstein during his undergraduate studies at Ohio State University, an education he would complete in two parts: before and after his military service during World War II. Even during his time in Europe, he continued to hone his artistic skills. He had hoped to study at the Sorbonne in Paris but ended up returning to the United States in the mid-1940s upon receiving news of his father’s illness.

After his father’s passing, Lichtenstein remained stateside and resumed his studies at Ohio State. Upon completing his studies, Lichtenstein become a member of the university’s faculty. Academia would become a hallmark of Lichtenstein’s early professional life. In addition to OSU, he taught at the State University of New York at Oswego and Douglass College in New Jersey. Prior to focusing his efforts full time on creating art, his work history included modern interior design, furniture design, and even window dressing.

Roy Lichtenstein, Sweet Dreams, Baby!, silkscreen printed in colors, 1965, 160/200, sold by Bloomsbury auctions on Dec. 6, 2011 for $99,000. Image courtesy of LiveAuctioneers.com Archive and Bloomsbury Auctions

Artist’s Trademark: By including Benday dots, a symbol of mechanical patterns often used in industrial engraving, Lichtenstein incorporated a unique form of texture within his artwork. The dots became synonymous with the artist and a pop-art staple.

The familiarity and popularity of Roy Lichtenstein’s work is due in part to his printmaking. These pieces are considered original art although they are prints of an original surface. Different from commercial prints, fine-art prints are limited in number and often signed by the artist. The printing technique most often used by Lichtenstein during his career was screenprinting (also referred to as silkscreen printing). This technique found a fan in pop-art master Andy Warhol, who used it to develop his own distinctive style. It also influenced the work of Lichtenstein and others active in the early pop-art movement. In the simplest terms, screenprinting involves applying a stencil to a screen through which ink passes, rendering an image on the blank space.

A Lichtenstein print never before offered at auction is among the works featured in Sotheby’s Postwar and Contemporary Evening Sale, Nov. 16, 2017. The print Female Head was created by Lichtenstein in 1977 and carries an auction estimate of $10 million to $15 million.

Roy Lichtenstein, Female Head, 1977, estimate $10M-$15M in Sotheby’s Nov. 16, 2017 auction. Copyright Estate of Roy Lichtenstein. Image courtesy of Sotheby’s

Lichtenstein was very obviously influenced by cartoon and comic art. Like some early comic books, the themes explored and subjects presented in his artwork were not always tranquil. They defined pop art through parody, often in a tongue-in-cheek manner.

Roy Lichtenstein, Nurse, oil and magna on canvas painting, circa 1964, signed and dated rf Lichtenstein ‘64 on verso, realized $95,365,000 in 2015, the most ever paid for a Lichtenstein at auction. Christie’s image

As prolific as he was in creating cartoon-influenced pop art during the second and third quarters of the 20th century, Lichtenstein didn’t shy away from exploring other genres and movements, including cubism, surrealism, and expressionism; as well as other media, such as sculptures and murals. In the late 20th century, he created five murals and significant sculptures in six cities around the world.

The artist continued to work into his 70s, until succumbing unexpectedly to complications of pneumonia in 1997. Although he has been gone for two decades, Lichtenstein’s work continues to captivate and attract new fans, often with “Biff!,” “Pow!” or “Wham!”

In Focus: Linda McCartney

Linda McCartney photo, The Beatles, London 1968, gelatin silver print, 40 x 50 cm, stamped on verso, signed by Mary McCartney from the Linda McCartney Estate. Image obtained from LiveAuctioneers.com Archive and Westlicht Photographica Auction

If it were not for photographer Linda McCartney (American, 1941-1998), the history of rock music would be missing a vital part of its visual record from the 1960s and ’70s. While she had only minimal formal training – once modestly referring to herself as a “punk photographer” – McCartney had a gift for putting performers at ease, then dissolving into the background to snap what are now considered classic photos of music superstars.

Linda McCartney was born Linda Louise Eastman to an upper-crust family from Westchester County, New York. Although some may have presumed it to be so, she was not related to the Eastman family of Eastman Kodak fame, and never made any suggestion that she was. Her father, Lee (Epstein) Eastman was a prominent entertainment lawyer in New York City. Her mother, Louise Lindner Eastman, was the daughter of Max J. Lindner, founder of the Lindner Company department store in Cleveland, Ohio.

After graduating from Scarsdale High School, Linda enrolled at Vermont College, where she earned an Associate of Arts degree. She then moved to Tucson, where she attended the University of Arizona. She started dabbling in equine and nature photography and became an avid hobbyist. Even as a student, she was known to use a high-quality Leica camera.

After her mother died tragically in a 1962 commercial airline crash, Linda moved back to New York and eventually went to work as a receptionist and editorial assistant for the society magazine Town & Country. During that time, she also went along on photo shoots with her then-boyfriend, photographer David Dalton. She closely observed the techniques he used in composition and lighting. Later, as she pursued her own career, Linda became known for her accomplished use of natural light when shooting her subjects.

Linda’s career path took a fortuitous turn in 1966 when an invitation arrived at Town & Country’s offices, inviting the publication to send a representative to a Rolling Stones record promotion party on a yacht. Linda jumped at the chance and ended up being the only photographer allowed on the yacht.

Linda McCartney photo of Mick Jagger, 1966, taken aboard a yacht in New York Harbor, #38/150, signed by the photographer in pencil at lower right. Image courtesy of LiveAuctioneers.com Archive and Sworders Fine Art Auctioneers

“I just kept clicking away with the camera,” Linda is quoted as saying in the Howard Sounes biography Fab: An Intimate Life of Paul McCartney, “and they enjoyed it and I enjoyed it, and suddenly I found that taking pictures was a great way to live and a great way to work.”

A few months after her Stones shoot, Linda was allowed backstage at Shea Stadium, where the Beatles performed. She also became an unofficial house photographer at Bill Graham’s Fillmore East, where she took pictures of scores of artists, including Aretha Franklin, Bob Dylan, Janis Joplin, the Doors, the Who, Grace Slick, and many others. A portrait she took of Eric Clapton became the first by a woman photographer to be chosen for the cover of Rolling Stone magazine. She developed a reputation as not only a fine photographer but also a music industry insider whom recording artists could trust.

Linda McCartney photo, John Lennon, circa-1969 gelatin silver print, printed circa 1974, photographer’s stamps and negative number in red crayon on verso. Image courtesy of LiveAuctioneers.com and Bloomsbury Auctions

Linda McCartney signed lithograph of Grace Slick (Jefferson Airplane/Jefferson Starship). Edition of 150. Image courtesy of LiveAuctioneers.com and Simon Parr’s Auctions

In 1967, while on assignment in London, Linda Eastman met Paul McCartney at the Bag O’ Nails, a club frequented by musicians. They met again four days later at the launch party for Sgt. Pepper’s Lonely Hearts Club Band at Beatles manager Brian Epstein’s house. In May of 1968, they reconnected at the US launch of Apple Records in Manhattan. Less than a year later, the couple married in a small civil ceremony in London. They would go on to live a normal, non-celebrity-oriented type of life on a farm, far from the insanity of Beatlemania. Throughout their 29 years of marriage, their primary consideration was always their four children: Heather, Mary, Stella and James.

Signed candid photo of Paul and Linda McCartney taken at a sports venue. Their marriage was one of rock music’s most solid, lasting 29 years until Linda’s death in 1998, at age 56. Image courtesy of LiveAuctioneers.com and Heritage Auctions

While she also became a musician, playing keyboards and singing with McCartney’s post-Beatles group Wings, Linda had many other interests. She was a vegetarian and animal activist. She developed a successful line of vegetarian frozen foods that made her independently wealthy, and she both wrote and photographed the images for two bestselling vegetarian cookbooks.

Linda never lost her passion for photographing interesting people, including her own family. Her photographs have appeared on album covers and been exhibited in more than 50 galleries worldwide, including the Victoria and Albert Museum in London. Her experiments with making sun prints – a 19th-century photo-developing process that dates to the early days of photography – earned Linda McCartney an invitation to have her work exhibited at the Royal Photographic Society in Bath, England.

In 1992, a book of Linda’s photos from the earliest decade of her career – titled Linda McCartney’s Sixties: Portrait of an Era – was published by Bulfinch. The photos have been praised for their warmth and ability to capture the essence of each subject at a precise moment in time. A testament to Linda’s talent behind the lens and the respect she garnered from those she photographed, the book remains one of the definitive photo records of rock music legends from that period in time.

Linda McCartney’s Sixties: Portrait of an Era, deluxe signed limited edition book in slipcase, #312/500, Bulfinch, 1992. Image courtesy of LiveAuctioneers.com Archive and Heritage Auctions

Expert Tips on Collecting Old Maps

“Geography helps explain man’s relationship to man’s environment, and maps are visualizations of that relationship.” – Steve Kovacs

It’s a daunting task, providing the visualizations of humankind’s relationship to the environment. However, maps have been doing the job, and very well, for centuries. Just ask any map collector.

Steve Kovacs, owner of an online map gallery and Jasper52’s Maps expert, said there’s a lot to discover from map collecting that isn’t immediately obvious to the beginning collector. We spoke with him to gain insights from his 5+ decade study and appreciation of geography and maps.

How is the collectible map market at present?

The map market has largely rebounded from the slowdown experienced by nearly all antique markets following the financial crisis of nearly a decade ago. There is now a robust interest and demand for a range of antique maps, from rare finds to more common maps.

Engraved map of the inhabited part of Virginia, containing the Province of Maryland and part of Pennsylvania, New Jersey, and North Carolina, original first edition hand-color in outline by state, with the title within a fine rococo cartouche, August 1753, by Joshua Fry and Peter Jefferson. Used by French naval and military commanders to plot strategy during the French and Indian War and the American Revolution. One of only four known examples of a first edition. Provenance: personal collection of esteemed French cartographer Jacques-Nicolas Bellin. Sold for $256,250 during the Spring 2017 auction at Arader Galleries. Arader Galleries image

 

How are maps generally categorized or defined? 

The most common categorization is by the geography depicted, of course — such as US maps, Asia maps, maps of Texas, etc. Another way collectors think about maps is by type, such as pocket or folding maps, wall maps, atlases, books with maps, maps of early exploration of a specific region, railroad maps, and so on. Some collectors separately categorize city maps, bird’s-eye views and pictorial maps, which became more common in the early 20th century.

 

What are some specialities with map collecting?

As with many other collectibles, collectors tend to follow their passion and will stamp their individual interest onto their collection. With that said, there are some more commonly followed themes. For some, maps are works of art, especially pre-19th-century maps full of vignettes and allegorical figures. These collectors will collect maps based on aesthetics and perceived artistic value. Many collectors will focus on specific geography that is relevant to them, such as their residence, heritage and so on. Similarly, some collectors will focus on a particular period of time, e.g., pre-18th-century; or a specific map type or theme, such as maps from the US Revolutionary war. Often collectors grow into being generalists, meaning they’ll collect all types of maps.

1848 Mitchell map of Asia with vivid original hand coloring and an inset of Australia. Estimate $135-$150. Jasper52 image

Which features/elements of maps impact value and prompt collector interest?

As with other forms of art and antiques, there isn’t a rigid formula that helps to define value or potential interest. Value is typically a function of uniqueness, desirability, rarity, age, map size, cartographer, artistic impression, which includes coloration; and condition. The first map to capture a specific geography is likely to be more valuable than a later rendering of the same area. There are maps that just generate lots of interest, and thus are more valued by collectors. Age correlates modestly with value, but there are maps from the 1600s that routinely sell for well under the price of some maps from the 1800s. Condition is very important, especially for maps that are more common. Ultimately, value and interest will be driven by collector demand, which in turn is influenced by the elements previously mentioned.

 

Are there particular types of maps that are more available and/or affordable?

Printing and papermaking technological advancements took a huge leap in the 19th century. As a result, map production became less expensive and the supply of post mid-19th century maps became larger. Many maps of this era are very affordable — such as maps by prolific cartographers including Tallis, Colton and Mitchell. However, there are much older maps that are very attractive, cover virtually all geographies and have sufficient supply to warrant lower prices — Belin’s maps from the mid-1700s are examples of this.

Nouvelle Carte du Royaume de Bengale, engraved map of modern Bangladesh and the Ganges delta, by cartographer Jacques-Nicolas Bellin, 1760, is one of 101 maps featured in the Antiquarian Maps of Asia auction to be presented by Jasper52 on Sept. 2. Estimate $50-$60. Jasper52 image

 

What are some of the places to find maps? What factors should people consider when looking to purchase an antique or vintage map?

Antique maps are generally available at auctions, from map-specific dealers and at some antique book dealers, as well as general antique stores, especially in tourist destinations. As one would expect, prices tend to be lower at auctions, where less business overhead needs to be covered by the price. Dealers have acquired knowledge and expertise, which transfers to credibility for serious collectors. Given the importance of reputation in specialty or niche businesses such as antique maps, most places selling or auctioning maps will give the buyer a fair deal. When looking to purchase an antique map, I would suggest focusing on the item itself first – will it fit your collection? – then on value.

 

What is the price range that beginners should expect to pay as they begin their map collection?

The amount of money a collector is willing to spend is a highly personal decision. With that said, a collector can start with excellent maps under $100 and add to his or her collection as maps of interest are available within their given budget. As the collection grows, many collectors gain confidence in their understanding of antique maps and tend to invest in more expensive, rarer maps, often exceeding $1,000 in price. The key is to have fun and enjoy your collection. Finally, I should add that a collector will also need to determine whether they plan to keep their entire collection or will they rotate their maps, selling some off over time.

 

What are some of the condition factors that can impact the collectability of maps?

As noted previously, condition is very important, as with other antiques. Condition statements typically focus on the map itself and less on the margins. Discolorations, foxing (small spots caused by impurities in the paper stock), mold or water stains/spots, toning (yellow/browning of the paper stock), tears/splits, missing portions, and excessive folds are examples of quality defects or poorer condition. As common sense would dictate, the poorer condition is somewhat ‘forgive’ for rare maps, but more-common maps in poorer condition will have a lower value. Finally, there isn’t a universal condition-grading system; rather, most dealers rely on giving an opinion of the map’s condition, although some will also use their own grading system.

Lot of three maps of Russia in Europe, and Russia in Asia, featured in the book The History of Russia containing Russia in Asia: Part of Russia and Independent Tartary: Russia in Europe Showing the Terretorial Acquisitions Since the Time of Peter the Great, by cartographer John Tallis, 1851. Hand-color in outline map is illustrated with six portraits/scenes that include czars. Estimate $225-$250. Jasper52 image

 

How did your interest in maps develop? What do you enjoy most about maps? Is there a map you’ve come across or have within your collection that is considered a favorite?

I was drawn to geography from an early age, as geography helps explain man’s relationship to man’s environment, and maps are visualizations of that relationship. In many ways, maps tell stories. I most enjoy maps representing early explorations, such as early maps of the Americas or Asia. In those days, cartographers felt compelled to use their imagination to make an educated guess of part of the topography pictured… and they tended to get this only partially right. One of the first maps I received was a Christmas present from my wife and shows the area of the world that my family comes from. Of course, that one won’t be for sale!

About the Expert:

Steve Kovacs has been passionate about geography and maps for five decades. His interest has taken him from studying and collecting maps to opening a boutique online map gallery. He also enjoys putting his knowledge of maps to use for his global travels – he’s visited 55 countries so far. He also has a background in science, engineering, and business. He is a member of the International Map Collectors’ Society and serves as the expert curating Map auctions for Jasper52.

Children’s Books: Investing in Nostalgia

Do you remember the books you loved as a child? It’s a solid bet that at least a couple of your childhood favorites are also the favorites of collectors, and with good reason. We can all relate to the experience of having books read to us at bedtime, and later, taking pride in learning how to read those books ourselves.

Baum, L. Frank, The Wonderful Wizard of Oz, first edition, first state of the text and first state of the plates, octavo, Geo. M. Hill Co., Chicago and New York, 1900. Green morocco slipcase. Auctioned Dec. 16, 2009 for $53,100. LiveAuctioneers / Profiles in History image

We spoke with two experts in the field of collectible books: Helen Younger, founder of Aleph-Bet Books, Inc., and Catherine Payling, MBE, director of Waverly Rare Books, a subsidiary of Quinn’s Auction Galleries, to get their take on the children’s book market. In speaking with them, we learned that juvenile literature is a solid niche within the greater realm of book collecting and has been so for quite some time.

As Payling observed, the market “has been relatively stable during and after recent economic upheavals and broader changes in patterns of collecting.”

Echoing those sentiments, Younger, who has been in the collectible book business since 1977, pointed to the availability and affordability of children’s books as reasons for the continued interest among collectors.

“In the world of collectible books, children’s books, in general, are not among the most expensive – they can be a little more attainable.”

In building a collection of children’s books, keep these points in mind: edition and rarity; condition, desirability, and the potential impact of changing trends.

Lot of three titles signed by Maurice Sendak, illustrated, and authored by Ruth Krauss, “Somebody Else’s Nut Tree And Other Tales From Children,” “A Hole Is to Dig: A First Book of Definitions,” and “Lullabies And Night Songs,” published in 1971, 1952, and 1965, respectively. Sold for $250 at auction June 1, 2017 through Waverly Books. Waverly Books image

For example, Payling said, “If there should be a dust jacket but one isn’t present, then a book without one is [considered] comprised. Is the book signed by the author or the illustrator? Is there interesting provenance?” All are important factors with respect to desirability.

Addressing condition, Younger outlined the standards many reputable dealers use in assessing books:

  • Good: Shows wear, tears, soiling, and perhaps the dust jacket is missing
  • Very Good: The book is in nice condition, although it may show age to some extent. It is clean and presents nicely.
  • Fine: Although it may not look as it did when brand new, it has no defects, it is clean, and nothing is missing.
  • Mint: The book is flawless.

Not only is understanding differences in condition helpful when considering the purchase of a book, it is often the key factor in determining price when selling a book.

For example, as Younger pointed out, Aleph-Bet might list a copy of Dr. Seuss’ The Cat in the Hat with a high price tag, but that might be because it’s a first edition, first printing, in mint condition.

Wells, Carolyn, illustrations by Jessie Wilcox Smith, “Seven Ages of Childhood,” first edition, NY: Moffat Yard 1909, tan gilt cloth, round pictorial paste-on, 56 pages. Cloth slightly darkened on edges from inoffensive cover stain, occasional foxing, VG. $400 through Aleph-Bet Books. Aleph-Bet Books image

As with most collecting interests, experience and time are the best teachers, according to Payling and Younger. Learning how publishers denoted first editions is an important practice, Younger added.

“It truly takes time to learn the aspects of children’s books, and to complicate things further, publishers were not consistent with how they denoted first editions,” she explains. “Some may say ‘first edition,’ some may have a number code or a combination, and some may have the date of publication on the title page and the copyright page, while some may not.”

Payling, who recently purchased a copy of Miskoo the Lucky by Mary Fairclough – one of her favorite books from childhood – recommends the following measures to gain valuable knowledge about children’s books:

  • Acquire some good-quality reference books on your specific area of collecting interest, whether it is by country, century, author and so on, and use them to help make buying decisions.
  • Learn to identify variations in condition.
  • Learn about current market prices from online resources, especially recent auction results, whose price database is free of charge.
  • Check out auction houses and their auction catalogs.

Also, attending book fairs and visiting the shops and sites of businesses specializing in rare and collectible books are all methods for amassing knowledge that will prove helpful in efforts to acquire children’s books, Younger advised.

Beginners may find it advisable to define the focus of their collection.

“Blue-chip authors, such as L. Frank Baum, Dr. Seuss, J.R.R. Tolkien, Lewis Carroll, J.M. Barrie, Maurice Sendak, and Roald Dahl are always sought after,” said Payling. “People are often motivated by childhood memories, so we see buyers looking for children’s titles popular when they were young.” Illustrated books are also highly desirable.

Younger points to children’s books published in the mid-20th century as being the current “sweet spot” in collecting. However, some lesser-known interests are gaining attention.

Milne, A.A., “Winnie the Pooh (And) The House at Pooh Corner,” Russian first edition, NY: Dutton 1967, cloth, 221 pages. Top edge rubbed, otherwise VG+ in frayed dust wrapper with a few mends on verso. $125 through Aleph-Bet Books. Aleph-Bet Books image

“Right now, we’re seeing the popularity of Russian children’s books growing,” she said. Early 20th-century Russian children’s books are distinguished by their consistently high quality of printing, illustration, and presentation. Plus, they reflect the characteristics of an evolving society.

Before the Russian Revolution of 1917, many of the books displayed lush treatment and robust illustration – a “frills and fantasy” presentation – said Younger, who formerly worked as a librarian and fosters a life-long appreciation for books. After the Revolution, children’s books, much like Russian society of that period, were stark, direct, and more focused on being utilitarian.

Another aspect of collecting to bear in mind is changing trends, Payling said. For example, values of Harry Potter books are not as high today as they were at the peak of Potter-mania.

Collecting children’s books can be rewarding, but like any type of book collecting, it requires a time investment. It pays to learn as much as possible, study market activity, and over and above all, to allow one’s own sense of nostalgia to serve as the primary guide to purchases.

About the experts:

Catherine Payling, MBE, M.A. Oxford University, was born and raised in the United Kingdom. She spent 10 years working in prestigious executive roles in London, and 15 years in Rome, Italy, where she served as curator/director of the Keats House Museum. Catherine has resided in the United States since 2011. She was an adjunct professor at Georgetown University in Washington, D.C., and is married to Duncan Wu, the Raymond Wagner Professor of Literary Studies at Georgetown. Catherine has a personal collection of books, and she and her husband are lifelong collectors of fine and decorative art.

Helen Younger co-owns Aleph-Bet Books in Pound Ridge, New York, together with her husband, Marc. Her love of books began when she was a child and continued to grow as she traveled through Europe following her high school graduation. She became a professional librarian and, in the mid-1970s, established a book-selling business upon the suggestion of her mother-in-law, who organized estate sales. Helen has been a member of the Antiquarian Booksellers Association of America since 1982.

Expert Tips for Buying Jewelry Online

Whether you’re seeking wearable accessories to enhance a wardrobe, looking to add new pieces to an established collection, or searching for beautiful treasures to give as gifts, you’ll find that antique and contemporary jewelry is plentiful online.

Once regarded as items that required in-person inspection prior to purchase, contemporary, vintage and antique jewelry items are all part of a growing segment within the e-commerce realm. Global jewelry sales are expected to achieve $250 billion by the end of the year, with online purchases accounting for 4-5%, according to Forbes. While that may not seem like an overly impressive statistic, just wait. Within the next three years, it’s anticipated that purchases of jewelry via online platforms will account for 15% of total sales.

A current fashion-jewelry trend, according to an article in the Robb Report, is chunky vintage jewelry. A few of the 65 lots featured in Jasper52’s July 16, 2017 Loose Stones, Sterling & Silver Jewelry Auction fit this bill. This circa-1970s Italian silver bracelet by UnoAErre measures 9/23 cm when locked and has an affordable estimate of $70-$90. Jasper52 image

A significant factor behind the anticipated spike is increased consumer confidence. “If you’re buying from a trusted seller, it should make no difference how the transaction is accomplished. Buying online is just a more convenient way to acquire the same merchandise that ordinarily would be purchased from a traditional venue,” said LiveAuctioneers Senior VP Product and Marketing Phil Michaelson.

As the jewelry market continues to evolve, the opportunity to obtain jewelry from sellers around the world, regardless of one’s locale, is greater than ever. With that being the case, to paraphrase a quote from Marvel Comics’ Spider-Man, “With great opportunity comes great responsibility.” Research and ask questions before you make any online jewelry purchase, not afterward.

Scully & Scully 18K white and yellow gold owl brooch with ruby eyes and criss-cross design of diamonds, handmade in England, with original box. Entered in Alex Cooper’s July 20, 2017 auction. Estimate $1,000-$2,000. Image courtesy of LiveAuctioneers and Alex Cooper

Buying Tip: Look for diamonds that have been graded by the GIA (Gemological Institute of America). This world-renowned nonprofit institute issues laboratory reports with their opinion of a gemstone’s color and clarity.

Robert Kadet, a member of the jewelry industry for more than four decades and a graduate gemologist, says the credibility of the company offering jewelry should be a foremost consideration. “Find out how long the company selling the piece has been in business and make sure they have an upstanding reputation,” he advises.

Art Deco Burma sapphire, Colombian emerald and diamond brooch, estimated total diamond weight 1 carat. Offered in Fellows’ July 13, 2017 auction. Estimate £5,000-£7,000. Image courtesy of LiveAuctioneers and Fellows

The Better Business Bureau and sites like Yelp are among the sources where consumers can obtain information on a business, but when it comes to online auctions, it is important to bid through a platform where quality jewelry sellers conduct their sales. Check how many auctions they have run in the past, what sort of merchandise they carry, how long they’ve been in business, and most certainly, what their Terms and Conditions are.

Buying Tip: Pay close attention to the auction-catalog details for any item of jewelry you’re considering to bid on. When buying a piece of jewelry, you want to know what karat gold it is, the carat weight or total weight of diamonds or colored stones, and whether it contains precious or semi-precious stones.

A cushion-shape diamond in a claw-set mount, 26.29 carats, with a clarity grade of VVS2 sold for $847,667 at auction on June 7, 2017. It had been purchased for only 10 British pounds sterling ($13) in the 1980s. Image courtesy of Sotheby’s image

Nothing does more to inspire buyers to add a new sparkler to their jewelry chest than a high-profile sale of a dazzling gemstone, especially if it has a good story behind it. There was quite a buzz in jewelry circles recently when Sotheby’s held its Fine Jewelry auction. Leading the lots in their sale was a recently discovered diamond ring referred to as the “Tenner” diamond. The ring features a cushion-shape diamond weighing 26.29 carats in a claw-set mount reportedly dating to the 19th century. It was originally purchased by the consignor in the 1980s for just 10 British pounds sterling (US $13), hence the name “Tenner” – British slang for a 10-pound note. The ring had been misidentified as costume jewelry and was sold at a car boot sale, a market where individuals gather to sell household and flea market goods from the “boot,” or trunk, of their cars.

Buying Tip: Pay attention to the presence of photos, or lack thereof, within online jewelry listings. Photos of jewelry should be clear and represent all angles. Take the time to inspect each photo. If you aren’t satisfied with the photographic representations provided in an auction listing, contact the seller or auctioneer and ask for additional images of a specific angle. — Gemological Institute of America

Jewelry listings with photos of multiple views provide the possibility to inspect a piece closely, which can reveal important elements, including makers’ marks, as shown in this photo. This sterling silver ring with an oval-shape cabochon green agate, created by Georg Jensen circa 1910-1925, is included in Jasper52’s July 16, 2017 American, European & Mexican Silver Auction. Estimate: $650-$750. Jasper52 image

Discovering a wonderful piece of jewelry online, bidding on it, and winning it, is an exciting way to add to a collection. When the package containing your purchase arrives at your door and you discover that the piece is even nicer than you had initially thought, you’ll be glad you took the time to do your research before buying.

Rodger Kadet grew up working many aspects of his family’s jewelry business, Rogers and Hollands Jewelers, which has been in operation for more than a century. In 2009, he began doing business as Roger Kadet Ltd., operating as a private jeweler specializing in custom-made jewelry, as well as watches and other types of jewelry. He is a buyer of gold, diamonds, silver and coins. He currently serves as the president of the Chicago Jewelers Association (CJA), which was founded in 1874. In addition to serving as a resource and a forum platform for retailers, wholesalers/manufacturers, and sales representatives serving the jewelry market, the organization provides educational seminars, and operates a scholarship fund for college-bound students.

Natural History Books: Exploring Nature From Your Armchair

“If you truly love nature, you will find beauty everywhere.” – Vincent Van Gogh

One does not need to venture far to experience the wonders of nature. They’re as close as a single step outdoors, a glance out a window, or, the nearest bookshelf.

For centuries, natural history books have provided views and explanations of various elements of nature. These books combine remarkable illustrations with thorough details of complex scientific organisms within ornithology, horticulture, botany, and etymology, among other disciplines.

To gain an expert perspective about natural history books and the current collecting market we turned to Bruce MacMakin, Senior Vice President at PBA Galleries in San Francisco.

“A Picture Book of Beasts, British and Foreign: Or, An Introduction to Natural History,” William Darton, 1822, London. Sold for $4,300 in February 2015 through PBA Galleries. PBA Galleries image.

How is the market today for collecting natural history books? How does it compare with the market a few years ago?

The market for collectible natural history books is much the same as the market for books in general. That is to say, that while prices have basically recovered from the recession that began in the fall of 2008, the long-term effects of the Internet on the marketing and availability of books and the information contained in them has had a continued and profound influence on the values of old books. What was once scarce and hard to find in the thousands of bookstores scattered across the country and around the globe, is now available at the click of a mouse. This has depressed the value of more-common books.

At the same time, the ease with which rare books can be searched for and acquired has broadened the collecting base, and made the geographic location of collectors no longer a barrier to participation. A collector or scholar in the middle of Iowa can acquire books as easily as one in New York City. This growth in the number of collectors, coupled with the lack of intrigue in acquiring the more-common works, has driven up the prices of the more rare and significant material, as buyers vie for the few gems at the top.

“A History of the Birds of New Zealand,” Sir Walter Lawry Buller, circa 1887, London. Limited issue, one of 1,000 sets. (Est. $5,000-$7,000 in a June 3, 2017 auction). Image by Arader Galleries.

Is there a genre of natural history book that is most sought after, or is the appeal equal among various topics (botany, ornithology, marine biology, travels of naturalists, etc.)?

Every collector has reasons for collecting what they do, and for every topic there are star items that bring premium prices. This can be based on the importance of a work, its scarcity, condition or beauty. Many natural history books have striking illustrations, including hand-colored engraved plates, color printed mezzotints that were seminal in the development of printing techniques, or simple line cuts that still presented important records of the subjects. But overall, botanical works seem to have held value and interest to a greater degree than others.

 

Are natural history books more available than in years past? What do you think may be contributing to this?

There are, in general, more books available for ready purchase than ever before, due to the global marketplace provided by the Internet, so this is true of natural history books, as well. But it still takes effort to locate the works of highest quality and importance, and in today’s transparent world, where a significant book is less likely to sneak onto a shelf in a bookstore with its true value unrevealed, one will likely have to pay a healthy price.

“Voyage to the South-Sea and Along the Coasts of Chili and Peru in the Years 1712, 1713, 1714, Particularly Describing the Genius and Constitution of the Inhabitants, as well as Indians and Spaniards: Their Customs and Manners, their Natural History, Mines, Commodities, Traffick with Europe &c.,” by Amedee Francois Frezier, Jonah Bowyer, 1717, London. Sold for $1,230 in April 2016 through PBA Galleries. PBA Galleries image.

In addition to condition, what factors weigh in to the value of natural history books?

One should start with the importance of a book in establishing our knowledge of how the natural world works. A prime example would be the works of Charles Darwin – in particular, On the Origin of Species, the appearance of which in 1859 sent shock waves through not only the scientific community, but through society in general. It is an example of a book whose value continues to grow, and premium copies regularly set price records.

Another reason for natural history books to have value is the illustrations. Beginning with simple woodcuts in the 15th century, illustrations kept pace with, and in many cases engendered, advances in printing, engraving and coloring. Not only are the subjects of the illustrations important, whether botanical, ornithological, or geologic, but the techniques used are very significant as well.

“The English Moths and Butterflies,” Benjamin Wilkes, Georg Dionysius, Ehret and Jacob van Huysum, 19th century, London. (Est. $12,000-$16,000 in a June 3, 2017 auction). Image by Arader Galleries.

What are two essential tips you would offer someone interested in collecting natural history books?

As with any collecting field, concentrate on what interests you. That will make it a pleasant task to acquire the knowledge necessary to form a meaningful collection. Do not collect for value, but for significance (value will follow). And when faced with the choice of purchasing a lesser copy at a bargain price, or a premium copy at a high price, choose the premium copy. Then when you look at the book on your shelf, you will be proud of the acquisition, whereas the lesser book would cause you to regret the money spent. And from a practical point of view, in today’s market, the premium book will become more valuable, while the cheap book will only become cheaper.

Bruce MacMakin is senior vice president of PBA Galleries in San Francisco. The son of a printer, MacMakin began his career in the book-auction trade at California Book Auction Galleries in 1978, fresh out of college. It was an unplanned diversion that has lasted 38 years and counting. In 1992, he became a founding member of Pacific Book Auction Galleries, now PBA Galleries. His areas of expertise range from early incunabula and rare manuscripts to hyper-modern fiction and The Wizard of Oz.