Warm and casual Southwest style enjoying revival

NEW YORK (AP) – A desert storm is brewing in the design world. Renewed interest in earthy color palettes, rich textures, tribal patterns and rustic elements has sparked a revival of Southwestern decorating style, long associated with homes in New Mexico and Arizona.

The look is interesting and exciting but also warm and casual, designers say.

William Acheff, b. 1947, AOA, NAWA, ‘Pueblo’s Pottery,’ signed l/r: © WM. Acheff, 1982, oil on canvas,16in. by 26in. Image courtesy of Altermann Galleries & Auctioneers and LiveAuctioneers

“The overarching trend for 2019 is all about being real. It’s about surrounding yourself with nature, including natural fibers and earth tones,” said Dayna Isom Johnson, a trend expert with Etsy.com, the online marketplace that focuses on handmade and vintage goods. That’s a change from 2018, she says, when “it was fantasy, celestial and unicorns,” design inspired by mythology and science fiction.

Southwestern decor – distinguished by colorful, geometric prints and a palette that includes periwinkle, terra-cotta, cream and tan – often evokes a desert feel, said Maggie Lydecker, a designer for the online home-goods store, Wayfair.com.

Large Navajo pictorial rug, circa 1930, native handspun wool, aniline dyes, 74½in. x 107¼in. Image courtesy of Heritage Auctions and LiveAuctioneers

“Southwestern looks feature natural elements that bring the outdoors inside even in a small space that could otherwise look stark,” she said. “For those who are hesitant to pinpoint one particular style, Southwestern can be a nice compromise, as it encompasses many different elements such as batik, leather or relaxed linen. It is easy to mix and match with this style – so what’s not to love?”

Since many homes are in styles or regions that don’t automatically scream “Southwest,” start with small touches, Isom Johnson suggests. “When a trend happens, you don’t have to deck out your entire home,” she said.

Frank Peshlakai (1903-1965) Navajo silver and turquoise jewelry box, marked ‘FP’ with the artist’s arrow hallmark on inside of lid; 1.75in. high x 3.75in. wide x 4.75in., mid-20th century. Image courtesy of Cowan’s Auctions and LiveAuctioneers

Consider adding a throw to your bed, a rug in your foyer, a piece of pottery on a living room table or new knobs to your kitchen cabinets, she said.

Linda Robinson, who works as an interior designer in Arizona, says that even there she adheres to the principle of blending Southwestern pieces with other elements. “It can be beautiful – the mixing,” she said. “Mixing gives character. It’s very today.”

Navajo Third Phase Chief’s Blanket, finely woven in aniline dye; nine stepped diamond anchor points, 77in. x 58.5in, circa 1880-1885. Image courtesy of Cowan’s Auctions and LiveAuctioneers

She routinely combines Southwestern items with European antiques or Persian rugs. Two or three antique Apache baskets on a French secretary desk would create “a real focal point,” she said. She often uses wood or metal tables as pedestals to display eye-catching Southwestern pottery, baskets or art. She also gravitates to furniture with clean lines because it allows such special pieces to pop.

Traditional terra-cotta tiles are another mainstay of this style and can be interspersed throughout the home, Lydecker said. “Bathrooms, kitchens and stairways are great spots to have some fun with tile and clay elements,” she said.

Acoma Pueblo four-color pottery water jar, circa 1900, painted with birds and foliage, 7in. high x 9¼in. diameter. Image courtesy of Westport Auction and LiveAuctioneers

Osa Atoe, a potter in Baton Rouge, Louisiana, incorporates geometric patterns and neutral colors with a Southwestern feel in her pottery. The look is classic, she says, and easily fits in different homes. Her pieces are “colorful and neutral at the same time.”

Vanessa Boer of Portland, Oregon, designs Southwestern-inspired housewares. “My shop’s focus is on textiles, primarily pillows, so people are able to add a pop of color or bold pattern on a couch or chair,” she said. “This adds some fun or character without having your entire living room covered in patterns, or feeling so entrenched in a specific style that you feel compelled to redecorate a year later.”

Western Apache pictorial olla basket, 16in. high, 12in. diameter. Estimate $5,000-$7,000. Image courtesy of Leslie Hindman Auctioneers and LiveAuctioneers

When done right, Southwestern pieces will gel with elements already in your home, Lydecker said.

“The textiles are often layered, which creates a relaxed, inviting ambiance,” she said. “With white being popular for walls and overall room palettes, Southwestern decorative elements provide a playful juxtaposition that doesn’t feel forced.”

By MELISSA KOSSLER DUTTON, Associated Press

Copyright 2019 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

English silver retains look, feel of royalty

NEW YORK – Collecting silver not only offers the tactile pleasure of holding a fine three-dimensional object expertly crafted but it also appeals to the eye. Akin to a piece of “statement jewelry,” fine works of art in silver make an elegant tableau. From elegant cutlery with scalloped or repousse handles to architectural candlesticks and a striking centerpiece with a profusion of cast elements, no table is complete without good silver.

English silver, particularly Georgian (1714-1830) and Regency (1811-1820) period examples, are highly desirable.

This double-handled covered cup is one of the earliest works by Paul de Lamerie, a Dutch-born silversmith who became one of London’s best craftsmen. Photo courtesy of M.S. Rau Antiques, New Orleans.

“In regard to silver, during the Early Georgian period (1714-1760), Queen Anne style reigned supreme, marked by simple, elegant forms and minimal decoration,” said Deborah Choate, sales consultant at M.S. Rau Antiques in a blog. “However, around 1725, elements of the exuberant Baroque and Rococo styles began to appear. By the Late Georgian period (1760-1811), a Neoclassical esthetic prevailed, which harkens back to the classical forms of antiquity, particularly the art and architecture of Ancient Greece and Rome.”

This George III English silver epergne, London, 1768, marks for Emick Romer, brought $24,000 in November 2018 at Brunk Auctions. Photo courtesy of Brunk Auctions and LiveAuctioneers.

Among the best-known British silversmiths in this era were Hester Bateman (1704-1794) and Paul Storr (1771-1844). Bateman became one of the best-known woman silversmiths after her husband died. At age 51, she took over his silver business and defied convention at the time, creating elegantly simple works even though the Rococo style was in vogue.

Storr also favored a minimalist aesthetic in keeping with the Neoclassical style, creating plain and unembellished forms that often featured naturalistic designs. While much of his tableware was simple, he did create lavish pieces for royalty and made most of the silver bought by King George III and King George IV.

This important English silver centerpiece sold for $17,000 in November 2017 at The Popular Auction. Photo courtesy of The Popular Auction and LiveAuctioneers.

In sharp contrast to its predecessor, Regency era silver is the most sumptuous and striking of English silver styles. Ornately embellished with scrolling acanthus and shell accents or having cast details like a lion’s head on the spout of an urn, Regency silver overall was a diverse grouping encompassing bold decoration and expert craftsmanship the extent of which has seldom been seen since.

A pair of English sterling silver servers with ivory handles made $25,000 in May 2015 at Clars Auction Gallery. Photo courtesy of Clars Auction Gallery and LiveAuctioneers.

Becoming a scholar of English silver means one is introduced the world of hallmarks, of which there are many. Hallmarks do more than merely identify the silversmith, a series of marks also convey how pure the silver is, its origin and age or that duties were properly paid as well as the assay office certifying the piece. Books as well as online reference guides can provide exhaustive information to identifying pieces.

“Collecting silver need not break the bank and a Charles Horner silver thimble might cost you around £10 at auction, a hat pin by the same maker around £30-£40 and an enamel and silver pendant by him around £200,” according to an article posted by Richard Winterton Auctioneers on its website. “At the other end of the spectrum Georgian and Regency silver by some of the most famous British silversmiths can sell for over £100,000 but there is much more to be had in the £100-£1,000 price bracket.”

A Moses Montefiore silver Sabbath goblet having a tulip form bowl, London, 1881, made $22,000 in February 2015 at Pasarel. Photo courtesy of Pasarel and LiveAuctioneers.

Even in America, museums are devoted collectors with sublime examples finding their way into permanent collections in renowned institutions, such as the Virginia Museum of Fine Arts, which in a 2010 press release announced the gift of 50 choice pieces of English silver from collector Rita R. Gans of New York, transforming the museum’s collection. At the time, VMFA Director Alex Nyerges said it was “the most important and fabulous gift of English silver in memory in many years to any museum in the world.”

A Manchester Cup silver trophy, Elkington & Co., Birmingham, 1903, realized $18,000 in June 2018 at Dan Morphy Auctions. Photo courtesy of Dan Morphy Auctions and LiveAuctioneers.

Some collectors collect only one form, such as candlesticks or epergnes while others seek out the best forms from one maker, and for others, it’s silver wares associated with one period or king.

For new collectors, a great way to start collecting silver is to start small either by focusing on smalls like silver thimbles or snuff boxes or if you favor larger pieces, adding one covered dish or teapot at a time. Learning is a lifelong process and while you educate yourself on the myriad of hallmarks pieces are engraved with, you will also absorb some of the social history of each piece. The more pieces you see and handle, the better you will train your eye and you will start to know the feel and weight of a piece, judge its patina, flaws and quality.

Clearing the air on Bakelite collectibles

Billed as the “material of a thousand uses,” Bakelite went into commercial production in 1922.

An article in the October 1925 issue of the trade publication Plastics magazine claimed the new synthetic phenolic resin could be used for “jewelry, smokers’ articles … sealing electric light bulbs in metal bases … varnishes … electric coils, lacquers … silent gears … and molding material, from which are formed innumerable articles of utility and beauty.” We know that resin today as Bakelite, named after its inventor, Leo Baekeland, the chemist whose process was patented in 1909.

The scientific name, though, is polyoxybenzylmethylenglycolanhydride, “a thermosetting phenol formaldehyde resin, formed from a condensation reaction of phenol with formaldehyde,” according to a Wikipedia entry. This revolutionary new type of phenolic resin, or synthetic plastic, was heat resistant, did not conduct electricity, was completely insoluble, totally inflexible and much more economical to produce in large quantities than celluloid, the plastic of the time. It was perfect for molding articles of utility such as insulators, military equipment, automobile parts and the early rotary dial telephone.

The case of this Wards Airline brand tabletop radio is made of molded Bakelite. Image coutesy of Goldfinch Auctions and LiveAuctioneers

The first tabletop radio, though, was one of the first items that was both an article of utility and of beauty when introduced in dark brown, black and dark marbled Bakelite. While not exactly a decorator choice, the darker colors concealed the use of cotton, paper, glass fabrics, nylon, canvas, linen, sawdust, fiber and even asbestos to strengthen an otherwise brittle compound.

But, if darker tones represented early Bakelite, how is it jewelry and other items made of lighter, mostly primary colors are commonly sold as Bakelite? Because those items are made of Catalin.

The 1940s FADA brand tabletop radio is a prized collector’s item for its Catalin case in butterscotch with red trim. Image courtesy of Clarke Auction Gallery and LiveAuctioneers

Known as a cast phenol formaldehyde resin, Catalin, created in 1927, is a thermosetting polymer not unlike Bakelite, except the production is in two stages, where Bakelite requires more of a multistage curing process. More importantly, Catalin was transparent allowing the use of color or mixture of colors during the manufacturing process. Jewelry, bangles, beads, brooches, tableware and other useful household items are made of Catalin, although it is usually identified as Bakelite to collectors.

There are key differences in Bakelite and Catalin. As was mentioned, Bakelite is manufactured with fillers and produced in darker colors to disguise the fillers making the item more stable over time. Bakelite also has a heavier feel.

Different examples of Bakelite and Catalin bangles with plain, worked and laminated versions that sold at auction for $300. Image courtesy of Clars Auction Gallery and LiveAuctioneers

On the other hand, Catalin, because of its shorter manufacturing process is lighter but less stable and eventually will crack or craze. Early colorful radios from FADA and Emerson made from Catalin, for example, tend to warp, while the colors tend to darken over time with white turning to yellow.

Bracelets in vibrant green, yellow, red or combined shades laminated together for a more colorful style are the most desired in their original shade, with figurals in the shape of plants, animals and flowers easily the most sought after by collectors.

Other Early Plastics

Collectors will occasionally find other early plastic-like material advertised at auction. Some were experimental before Bakelite or Catalin and others just had small production runs. They are no longer being manufactured, but turn up as collectibles.

Early celluloid was generally used for household items such as the handle for this German-made straight razor, which depicting a zeppelin flying over a city. Image courtesy of Jeffrey S. Evans and Associates and LiveAuctioneers

Celluloid is considered the first true thermoplastic when it was marketed as Parkesine in 1856 and Xylonite in 1869. It is made from a compound of nitrocellulose and camphor which is quite flammable. The covering over early political buttons, billiard balls, film stock until 1950, and vintage ivory-like handles were made with celluloid. Pingpong balls and some guitar picks are still made from celluloid today.

Political buttons like this rare William Jennings Bryan/John W. Kern pocket mirror of 1900 used celluloid as an overlay. Image courtesy of Heritage Auctions and LiveAuctioneers

By 1880 Crystalate, invented by George Henry Burt, from nitrocellulose, camphor and alcohol, was based on an earlier form of plastic known as bonzoline. Crystalate was used mostly for gramaphone records and billiard balls and has long since been discontinued.

Faturan, possibly named for chemist Esmaeel Almail Faturan in the early 19th century originally mixed natural resins to form worry beads (komboloi) and counting beads (misbaha). A synthetic version made by Traun & Son, a German company, was made from early 20th century to the 1940s. Original Faturan, though, eventually oxides to a dark red no matter the original color and is rare as a collectible.

Galalith is a late 19th century plastic that utilized casein (found in milk) and formaldehyde to form a milky white hard plastic, but once set it could not be molded. By World War II, production was dramatically reduced to save milk for civilian use. Fashion designer Coco Chanel utilized galalith as costume jewelry and is still being produced mostly as buttons. Galalith emits a milky smell when rubbed.

Micarta is a phenolic resin like the others, but was used as a laminate over linen, canvas, paper, fiberglass and carbon fiber. Developed by George Westinghouse by 1910, it was used to make knife handles, handgun grips, pool cues, hardhats and early fan blades. Micarta is usually dark in color.

Virtually all of these early plastics have been either discontinued or have limited industrial use since the 1950s due to its labor-intensive mold and casting process. Yet, auction results seem to treat these early plastics similarly when it comes to collector value, except Faturan which has become more of a museum piece due to its rarity.

‘Fakelite’

There are contemporary plastics that resemble Bakelite, so-called “Fakelites” that are treated differently. These fakes have similar design and production methods as Bakelite and are hard to spot except on close examination. Veteran collectors know the uniquely identifiable “clunk” sound that two pieces of vintage Bakelite make when tapped together. Bakelite also feels heavier. Collectors sometimes use the hot water method to test for authentic Bakelite (dip in hot water, rub and test for the smell of formaldehyde) or the 409 method (just a touch of Formula 409 cleaner or Simichrome brand polish on a cotton swab on a hidden area and the swab should turn yellow; rinse the item immediately). You can just dry rub it as well and smell the telltale formaldehyde (works best with dark Bakelite).

Vintage Bakelite may also have been reworked, recut or redesigned without being marked as such. It doesn’t necessarily mean it is a fake or even a reproduction and its auction value isn’t compromised, but it may be judged differently from its original use. Just be warned that reworking Bakelite yourself produces the harmful effects from the phenol and formaldehyde used in its manufacture.

As it turns out, whether wearing Catalin bangles from Coco Chanel or listening to big bands on an Emerson Bakelite radio, whatever you call it, they’re equally collectible.

Resources

Baker, L. Plastic Jewelry of the 20th Century, 2003

Holdsworth, Ian, Cast Phenolic Resin, Plastics Historical Society, plastiquarian.com, undated

Meikle, Jeffrey L., American Plastic: A Cultural History. New Brunswick, NJ: Rutgers University Press, 1995

Wiggins, Pamela, Collecting Bakelite Jewelry, sprucecrafts.com, April 4, 2014

Wiggins, Pamela, 6 Ways to Identify Bakelite, sprucecrafts.com, August 24, 2018

Wikipedia.com, Bakelite, undated

Whimsy meets function in butter prints

NEW YORK – Wooden butter prints were designed to be neither strictly utilitarian objects nor objets d’art but instead fall somewhere in the middle. Highly carved and ornate yet with handles or edges worn smooth from frequent use, butter prints are curious examples of material culture. In some areas, they are all that remains of a once-thriving dairy industry.

“These deceivingly mundane tools convey changes in dining habits, rural women’s participation in local economies, and the transition to a consumer economy,” said Jennifer L. Putnam
Villanova University, in a 2017 article in butter prints for the Madison Historical Review available online.

A carved and turned tulip butter print, dated 1834, fetched $4,392 at Pook & Pook Inc. in April 2017. Photo courtesy of Pook & Pook Inc.

Butter prints were not exclusively American, as fine examples were Swiss, Austrian and English to name a few. As far as American examples go, however, Pennsylvania probably held the biggest share as more butter prints were made here in the 19th century than any other state.

“Before the advent of commercial creameries, people used to make butter at home and they would take it to market,” says antique dealer John Rogers of New London, New Hampshire, who specializes in early American woodenware, including butter prints (aka butter stamps). “There would be roadside markets so people were looking for ways to differentiate their butter from other people’s butter and the butter print was a way of doing that.”

Some theories hold that printed butter sold better than unprinted butter as people considered this butter to be of a higher quality than unprinted butter but that’s probably just some very good marketing.

When it comes to collecting, forms are more important than the pattern design with double-sided and lollipop forms of the highest interest, says James Pook, vice president of Pook & Pook, Inc. in Downingtown, Pennsylvania.

A small but beautifully assembled collection of truly fine prints includes lollipop forms on the top shelf. Photo courtesy of John Rogers

Butter prints come in a variety of forms from the traditional round to a half round, rectangular or block prints and the rare and highly desirable lollipop form. “Some people collect only Pennsylvania Dutch round prints, there are those who collect only lollipops or only collect animals,” Rogers said. “There is a wide variety of preference within the butter print family, I happen to be one who likes them all.”

The rarest or hardest one to find today is called the shouldered oval, he added. “It’s an oval print that has a sort of a side shoulder on both sides. Those are the rarest. They are very hard to come by; they can go for a gazillion dollars.” Semi-oval shouldered prints also can be found.

A finely carved Pennsylvania Dutch tulip print. Photo courtesy of John Rogers

Decorating motifs are infinitely more varied than the forms, ranging from flora and fauna (sheaves of wheat are common) to animals and miscellaneous objects. “The most sought-after designs would be tulips and stars and then the animals. The eagle is a frequently found motif, and the cow obviously is very popular,” Rogers said. “Other animals are harder to come by so a rooster is highly sought after. A beehive and a double beehive are very, very hard to find and expensive when you do find them.”

Craftsmanship and the level of detail in the carving are among attributes buyers most look for. The earliest examples (pre-1860) are the most sought after and all having hand-carved faces. In general, the larger the face diameter a print has, the better.

A highly desirable half round eagle butter print. Photo courtesy of John Rogers

“I would say look at the quality of the carving,” Rogers said. Butter prints were made in shops as well as by people working in their own homes so quality varies greatly. “Look for the quality of the carving and the care with which the face of the butter prints is inscribed,” he added. “Is the overall effect pleasing or cluttered? Does the design itself occupy the whole face or is it reduced by easily carved concentric circles, which go around the entire print so the actual print is smaller?

The size of the print itself, its artistry and the obvious skill in the carving are all important as is condition. “This was just a common household tool, so they were not very well treated. Because butter making stopped with the advent of commercial creameries, they were carelessly put on shelves and rodents liked to chew on them because of the salt content in to the wood.” Many of them mysteriously also bear scorch marks, which Rogers said is curious as fire certainly has no part of the butter-making process.

Two carved and turned eagle butter prints, the oblong example with a chip carved handle, made $9,150 at Pook & Pook Inc. in April 2017. Photo courtesy of Pook & Pook Inc.

While a passion for Americana has waned a bit in recent years as evidenced by the changing lineup of what once was known as Americana Week in New York City every January, the popularity of butter prints endures. “The market is pretty good,” Pook said. “We sold one for over $9,000 in 2017. As with anything in the antiques market, if you have a great example, it’ll bring good money.”

Much loved and admired portrait miniatures

Miniatures, originally, were tiny, decorative images that embellished illuminated medieval manuscripts. Portrait miniatures, head-and-shoulder portrayals of individuals about the size of large marshmallows, developed from their techniques and tradition.

From the mid-1400s, illuminators not only illustrated manuscripts and costly hand-printed books. For wealthy patrons, they also created stand-alone miniatures for private worship or as luxurious collectibles.

Gentleman, oil on copper, framed and glazed, inscribed ‘A: 1588’, 5.5 x 3.9 in., British, realized £7,000 in 2015. Image courtesy of Busby and LiveAuctioneers

During the following century, English and French illuminators created portrait miniatures on backs of stiff playing cards, copper wafers or velvety calfskin parchment using watercolors. At the time, aristocrats and royalty, like Henry VIII, commissioned these small, colorful depictions as diplomatic gifts, signs of royal favor, and to facilitate long-distance marriage negotiations.

During the Elizabethan era, miniatures depicting likenesses of lovers were intended for personal, private use. When Spain threatened England, however, wealthier subjects sometimes bore copies of Elizabeth’s image as signs of loyalty. Similarly, some bore images of James I when he inherited the throne.

Portrait miniature of Adam Babcock, signed ‘HP’ l.r. by Henry Pelham (after noted American painter John Singleton Copley), watercolor on ivory, c. 1774, 2 x 1¼ in., 18K gold case, illustrious history and provenance known, documented and exhibited through the U.S. Department of State, realized $55,000 in 2011. Image courtesy of Skinner and LiveAuctioneers

Though traditional techniques continued through the early 1700s, miniaturists usually preferred smooth, translucent ivory wafer backings, because they enhanced skin with realistic radiance. Since watercolors tended to slide off, however, many first degreased or roughened their surfaces.

In time, painting portrait miniatures became an acceptable pastime, even for women. Yet with the rise of the middle class, their demand rose dramatically. Clerics, soldiers, dignitaries, as well as common folk, not only commissioned depictions of themselves. Many also commissioned multiple copies, to be distributed to family members or as tokens of affection.

Violinist, possibly Mikhail Glinka, watercolor on ivory, signed ‘I. Gerin’ along with finely penned inscription in Cyrillic, “To my dearest friend Sofia Nikolayevna Treskina with the fondest of memories, 31st of August 1835,” 3.1 in. high, realized $5,500 in 2012. Image courtesy Jackson’s Auction and LiveAuctioneers

Women often wore these stunning, tiny portraits mounted in brooches, bracelets, or lockets backed by locks of hair coiled into love knots Young men, rakes and politicians concealed lovers’ portraits under lids of snuff boxes. Soldiers and sailors bore miniatures of wives and sweethearts into battle, leaving self-images for those left behind. In addition, seafaring merchants carried portrait miniatures to the American Colonies.

At first, Colonial painters produced tiny, traditional oval portraits for wealthy clients alone. Toward 1800 however, when enterprising British, French and Italian miniaturists arrived, this fine art thrived. Yet within a few decades, American miniatures, larger, brighter, sharper and featuring full-length figures, tended to resemble full-size oil paintings.

Miniature portrait of Auguste Marie von Engelhardt on ivory by Alexander Molinari, signed lower right, titled and dated verso, 1800, 3½ in. high x 2¾ in. wide, provenance known, realized $8,500 in 2011. Image courtesy of Clars Auction Gallery and LiveAuctioneers

British portrait miniatures gained popularity during the reign of Queen Victoria, especially following the death of Prince Albert. Since public mourning had become fashionable, women not only wore brooches of their near and dear. Many also wore ones depicting images of their dear departed.

When portrait miniatures fell from fashion, the European middle class continued to seek small, affordable ornamental items. Mass-produced miniatures, reproductions of full-scale oil paintings and depictions of famed musicians, military leaders or maidens in fancy bonnets, were especially popular. These purely decorative works, many created in Germany, were not produced to deceive the public, but to fulfill their wide demand.

Girl wearing black dress with muslin trimmings and matching hat, on ivory, signed and dated, gold frame with bright-cut sides, the reverse with glazed aperture containing hair-work monogram, John Smart (1740-1811), 1.9 in. high, realized $7,773 in 2016. Image courtesy Matthew Barton Ltd. And LiveAuctioneers

Many can be readily identified. The quality of their painting may vary, they may bear French-sounding signatures, and most are produced on low-cost, translucent ivorine wafers made from milk curd or rennet. In addition, they may be framed by lavish brass filigree or ivory piano keys backed by pages from old books, to simulate great age. Yet these attractive, available, affordable decorative miniatures are becoming antiques in their own right.

More serious collectors, however, usually seek unique miniatures featuring actual sitters. Those portraying a famed monarch, actress, or admiral, for instance, are especially collectible. So are those featuring sitters identified through historic research or genealogical studies. Works by celebrated miniaturists, like Samuel Cooper, John Smart, Robert Field and Laura Coombs Hills, are also desirable, especially if they are signed and dated. That said, rare, masterly portrait miniatures, in prime condition, in original, high quality frames, signed and dated by famous artists, and portraying known, interesting, and attractive sitters, are most collectible of all.

Child identified as ‘Aspinwall Maxwell/born in/Saugerties N.Y.,’ watercolor on ivory in locket type velvet covered case. 19th century, unsigned, 1¾ x 1⅜ in., realized $300 in 2007. Image courtesy of Brunk Auctions and LiveAuctioneers

Since scores were produced by unknown artists, however, many may be found at appealing prices. Furthermore, those featuring unidentified sitters – even those not particularly attractive, may hold a certain charm. After all, these miniatures not only reveal fads and fashions of their day. They also illuminate real lives.

In addition, these miniscule, incredibly delicate works of art are wonders of survival.

Falling in love with vintage Valentine’s Day cards

NEW YORK – For New Jersey historian Nancy Rosin, her love affair with antique Valentine’s Day cards began while antiquing in the 1970s in New Hope, Pennsylvania.

“The first things I bought were the die-cut scraps that embellish many of the Victorian Valentines. I thought I would one day use them for decoupage, a popular craft, when my children were older,” she told Auction Central News. “When I discovered they were on Valentines, I started looking for Valentines – and then the serious collecting began. It was a combination of their beauty, the messages, and the history that drew me in.”

Cut‐paper Valentine card, British, circa 1810; made by Elizabeth Cobbold (1765‐1824). Image courtesy the Huntington Library, Art Collections and Botanical Gardens

After her collection numbered somewhere over 12,000 examples of Valentine, friendship and devotional ephemera, her son and his wife, to whom she had given it, entrusted the collection to The Huntington Library Art Collections, and Botanical Gardens in San Marino, Calif., in 2018.

Rosin remains as passionate about Valentines as ever, cataloguing examples at such renowned institutions as the Metropolitan Museum of Art in New York City and giving lectures on this subject.

The most striking of Valentine’s cards are the handmade ones, particularly those dating to the Victorian era, and the skills used to make cards that fold-open, boast three-dimensional features or have intricate designs cut out of paper lace are impressive to behold. Particularly desirable are those employing cobweb devices where one pulls on a string to lift up the cobweb, exposing a hidden image (sometimes several) or a secret message.

Cobweb valentine card (image detail shown), probably British, circa 1830‐1860. Pull a string attached to the castle, and a cobweb device lifts to reveal a mouse in a trap. All images except where noted are gift of Belle and Robert Rosin, Nancy and Henry Rosin Collection of Valentine, Friendship, and Devotional Ephemera. Image courtesy the Huntington Library, Art Collections and Botanical Garden

Themes and subject matter are endless, ranging from typical romantic subjects one might expect such as cupids, children, young women and couples, flowers, birds and more to the satiric and political.

There is even a genre of insulting Valentine’s cards known as vinegar Valentines with such snarky sentiments as, “On each Sunday morning to church you repair, And turn up your nose with a sanctified air, But see you at home what a different sight, As you read nasty books and drink gin half the night… ” These were commonly aimed at politicians too.

‘Vinegar’ Valentine card, American, circa 1870‐1885; maker unknown. Image courtesy the Huntington Library, Art Collections and Botanical Gardens

The more unique the card, either in sentiment or design, the more collectors will covet that particular example. Highly detailed Victorian paper lace Valentines are a favorite among many collectors. Often constructed of layers of scalloped and embossed paper, die cuts and paper lace in white and silver, the lace often is set on paper strings to give it a three-dimensional effect.

Among renowned card artists/illustrators are Kate Greenaway, Walter Crane, Elizabeth Cobbold, Frances Brundage, Ellen Clapsaddle and Grace Drayton, said Rosin, adding, “I imagine Frances Brundage was the most well-known, and her images of children were fabulous.”

Fold‐open valentine card, German, circa 1900, three‐layer construction of die‐cut, embossed and color lithographed paper with applied elements. Image courtesy the Huntington Library, Art Collections and Botanical Gardens

Collectors and even casual viewers are especially drawn to a card’s message of love. “They were sentimental and tender. Civil War Valentines, for example, were often the connection to home – the Sailor’s Farewell refers to the seafaring men who went off for military, or for whaling – and it was a popular theme that I especially love,” Rosin said. “The ‘Language of Flowers’ is an important component, as messages could be sent with a bouquet – no words necessary, if you knew their meaning.” Each flower had a particular meaning understood by both the sender and recipient in the 19th century (mixed bouquets can be a bit more challenging though for today’s viewers to decode) such as lilies signified purity, red roses were a declaration of love, white chrysanthemums equaled truth and so on.

This is a series from the 1920s featuring animals and figures eating hearts. Made in Germany, it has a rotating wheel and mechanical mouth. Image courtesy of Vintage Valentine Museum

Jolene Sliwka of North Carolina runs the website known as the Vintage Valentine Museum and says collectors vary quite a bit in what they consider most desirable. “For many this would mean the elaborate standup displays and fantastic characters created by known artists like Frances Brundage or Chloe Preston,” she told Auction Central News. “Some of these can be large and feature paper puffs or sections designed for light to shine through pieces of colored paper. These large, pull-down cards don’t have to be by known artists to be very desirable. There are examples of quite large pull-down boats that are so popular I haven’t been able to acquire one at a price I can afford for the museum.”

Valentine card, American, circa 1870, by Esther Howland (1828‐1904), who was said to be the first to produce English-style romantic, hand-decorated cards in large commercial quantities. Image courtesy the Huntington Library, Art Collections, and Botanical Gardens

Many collectors focus on a particular artist or sometimes a category such as mechanical cards or puzzle purse cards, Sliwka said. “For others, the paper lace cards, with exquisite embossing and cutout pieces, that the Victorians exchanged are what they most desire,” she said, noting in the latter genre, Esther Howland of Worcester, Massachusetts, as a woman in 1848 began showing her business prowess at a time unusual for women engaging in commerce, earning a strong following for her romantic cards.

Rosin suggested new collectors do their homework before buying their first Valentine. “Look at Valentines wherever you can – shows, auctions and museums. You don’t have to buy – first look, touch and see what you love and be knowledgeable.”

Collector’s guide to Morgan silver dollars

The Morgan Silver Dollar is considered the most widely collected and traded coin minted by the United States. Named for its British-born engraver, George T. Morgan (1845-1925), the Morgan Dollar was minted from 1878 to 1904 and once again in 1921. Total mintage was near 657 million. About half of all the Morgan Dollars have been melted down as silver bullion since 1918. Even with that taken into account, there are still approximately 275 million such coins in existence, so in terms of supply, there definitely isn’t a shortage.

The 1893S Morgan Dollar is known as the ‘King of the Morgan Dollar’ because of its rarity. Image courtesy: LiveAuctioneers and Silver Towne Auctions

Description

  • Years minted: 1878 to 1904 and 1921
  • Measurements: 1.5 inches in diameter (38.1 mm); 2.4 mm thick
  • Composition: 90 percent silver, 10 percent copper
  • Weight: 26.73 grams
  • Obverse: half profile of “Liberty,” motto “E Pluribus Unum” above, seven six-pointed stars around the left edges to the date and six six-pointed stars around the edge after the date
  • Reverse: eagle with wings standing upright holding arrows and olive branches, motto “United States of America” around the top edge, olive branches stretching under each wing under the eagle, “One Dollar” around bottom edge with one six-pointed star separating the mottos.
  • Edging: Reeded edging
  • Mint Marks: None (Philadelphia Mint), CC (Carson City), D (Denver), O (New Orleans), S (San Francisco); placed on reverse between bottom of olive branch and motto “One Dollar”

The Most Common

Most Morgan Silver Dollars are considered to be common at an uncirculated grade or Grade 50 or less because of the high mintage, particularly the 1921 Morgan Dollar, those minted at the San Francisco Mint of 1880-1882 and those minted at the Carson City Mint of 1882-1884 in grades up to 66. New Orleans minted coins are known to have been minted indifferently, with generally poor strikes. The 1878 mintage was made with different dies.

The 1921 Morgan Silver Dollar is the most common U.S. silver dollar, with nearly 90 million minted at the Philadelphia, San Francisco and the Denver Mints. Image courtesy: LiveAuctioneers and Premier Auction House Inc.

The Most Scarce

Only one 1889-CC Morgan in its original GSA holder has been found to date. (The U.S. General Services Administration was responsible for sorting and marketing the U.S. Treasury’s hoard of silver dollars after the Treasury ceased issuing dollar coins. In a series of sales lasting from 1973 to 1980, this hoard of several million silver dollars, mostly Morgan Dollars minted at Carson City, was dispersed via auction and fixed prices in plastic holders with a black insert—today known as GSA holders.) The 1895 Morgan Dollar, “The King of the Morgan Dollar,” exists only as a proof. Only about 100,000 1893-S Morgan silver dollars were originally minted, with an unknown number in existence [post meltdowns].

What Collectors and Dealers Look For

When taking a coin to a dealer or collector, do not clean it with solvents or scrub it. Just remove obvious loose dirt or grime. The date should be as clear as possible, since that will be the first thing that needs to be checked.

If it is a precious metal coin (bullion), then the content will be tested and weighed to ensure it corresponds to the official percentage of metal as determined by the Mint and to ascertain whether the coin has a historical value or a melt value. If the coin is destined for melt value, each dealer will quote a percentage of the official spot price of the precious metal for that day, usually 90% or less.

Next, condition will determine whether it is a collectible coin that can easily be resold. Coloring, normal wear from circulation, toning, “bag marks,” scratches and large marks will detract from the final value. The better the condition, the better the chances of the coin being bought. A grade will be assigned to the coin based on condition from 1 (poor) to 70 (uncirculated).

The last step will be the mint mark, which indicates the U.S. Mint facility where the coin was minted. Certain mints are more collectible than others of the same type of coin, based on how many were minted in total from each mint. Any mint mark can add or detract from the final value.

While examining the coin, the dealer/collector will be looking for any error marks that were added by the Mint accidentally during the minting process or any parts of the design that appear to be missing. That could affect the final value.

The dealer will then look up how many were minted for circulation based on the mint mark and determine the demand for that particular coin from that particular mint.

The final value will be determined as a percentage from an industry publication called the Grey Sheet, which updates the values of coins on a consistent basis (individuals can review the Red Book to get a sense of recent value). Each dealer/collector has a different value for each coin they buy.

The 1895 Morgan Dollar is one of is one of the scarcer U.S. silver dollars, with only 862,000 minted at the Philadelphia (only 12,000 minted), New Orleans and San Francisco Mints as proofs. Image courtesy: LiveAuctioneers and Regency-Superior Ltd

Resources and Alphabetical Glossary

Condition: the overall quality of a coin as judged against others of its type. Key factors affecting condition include: the number of marks, abrasions, cuts and wear. The fewer the number of exceptions to condition, the higher the value is.

Demand: With any given coin, the more there are in circulation, the less interest there will be for collectors to add one to their collection or for dealers to add one to their inventory.

Error marks are generally design flaws such as double strikes, chips, missing designs, wrong obverse or reverse, missing date, and anything that doesn’t belong.

Grading: based on condition of the coin overall, grades are generally; 1 (P-poor), 2 (F-fair), 3 (AG-about good), 4-6 (G-good), 8-10 (VG-very good), 12-15 (F-fine), 20-35 (VF-very fine), 40-45 (XF of EF-extremely fine), 50-58 (AU-almost uncirculated), 60-70 (UNC-uncirculated). Commercial grading companies include Professional Coin Grading Service (www.pcgs.com) and Numismatic Guaranty Corp. (www.ngccoin.com).

Grey Sheet (www.greysheet.com): an industry subscription service that updates coin values on a monthly basis.

Historical value: a coin whose value is more collectible than the metal it contains.

Melt value: For coins minted in precious metal such as silver, gold and platinum, it is possible that the mintage was so high that the value is more in the metal content than the historical value of the coin itself. This applies mostly to silver coins, but other precious-metal coins in poor condition might also qualify.

Mint mark: The exact same coin may have a higher value than another similar coin if a particular official government mint produced a smaller quantity of them for circulation.

Mintage: the official quantity of coins released into circulation or as commemoratives; the lower the number, the more valuable the coin is to collectors.

Obverse: the “heads” of the coin, usually is a profile of a historical figure or person.

Red Book: a consumer publication known as A Guide Book of United States Coins by Whitman’s Publishing LLC that updates coin values on a yearly basis.

Reeded edging: coin edging that has been ridged or milled when struck at this mint. Such features discourage slicing of edges to remove some of the precious metal.

Reverse: the “tails” of the coin, usually featuring an eagle or some other historical image

Tabriz carpets pile on the quality, colors

Fine carpets have long symbolized wealth, status and majesty. King Henry VIII of England, for example, not only graced his walls, tables and cushions with precious Turkish weavings. In his famed portrait by Hans Holbein, the monarch actually stands on one.

Though Persian carpets first reached Europe in the 16th century, most on today’s market date no earlier than the mid-1800s. Their creators not only employed age-old methods of design, dyeing and weaving. Like their forefathers, they also had access to high-quality, moist, glossy sheep fleece.

Fine, high quality Tabriz carpet (70 raj), northwest Persia, circa 1940-1950, wool/silk, 11 feet 11 inches x 8 feet, realized $15,944 in 2016. Image courtesy Henry’s Auktionshaus AG and LiveAuctioneers

These works of art were woven on traditional handlooms featuring horizontal silk, cotton or wool strands, called wefts, along with adjacent vertical strands, called warps. Interweaving warps with dyed wefts produced patterned flat-weave carpets. Tying dyed, single-looped knots between the wefts, then compacting and cutting them, produced patterned pile-carpets, those with perpendicular surface yarns. Since this looping process was so time consuming, creating a narrow runner might take months. Creating a room- or palace-size piece might take years—even if worked by teams of weavers.

Characteristics of Persian carpets, like designs, color combinations and knotting techniques, are often specific to certain towns, villages or tribal regions. These are named for their ethnic creators or places of origin.

Fine Tabriz carpet (50 raj), northwest Persia, circa 1920-1930, wool/cotton, 11 feet 5 inches x 7 feet 12 inches, impressive colors with green tones, realized $9,680 in 2016. Image courtesy Henry’s Auktionshaus AG and LiveAuctioneers

Carpets produced in Tabriz, one of the oldest weaving centers in modern-day Iran, however, are among the finest. Whether simple or complex, geometric or pictorial, pale or vivid, pile or flat-weave, all feature harmonious, formal designs, balanced use of color and exceptional quality.

Many depict delicate, detailed, overall repeating patterns of stylized palmettes, vines, florals or arabesques framed by dominant borders in complementary shades and patterns. Others feature round, ovoid, pendant, blossom, star or diamond-shaped medallions filled with kaleidoscope-like bouquets of flowers. These dominant forms, set against rectangular fields of overall floral motifs, may be flanked by bold, rectilinear outlines or complimentary architectural, artistic adornments. Whether wool or silk, they are edged by geometric or floral work borders in varying widths and complexity.    

Magnificent Tabriz palace-size carpet, cool palette with lace-like border, 11 feet x 17 feet, circa 1900, realized $11,000 in 2009. Image courtesy of Nazmiyal Auction and LiveAuctioneers

While the usual measurement in judging the quality of a Persian rug is knots per square inch, Tabriz pile carpets are traditionally rated according to raj, a term that indicates their knotted density. Raj represents the number of knots across 2¾ inches (7 centimeters) of a Tabriz rug. Pieces labeled 40 raj, for example, feature some 400-500 knots to a 2¾-inch span, 50 Raj feature 500-600 knots, 60 raj feature 600-800, and 70 feature 800-1,000 knots. Because carpets with high-knot densities allow exquisitely minute detail and shadings, they often display attractive, intricate designs.   

Carpets with exceptionally high knot-density, like those by Haji Jalili, a master weaver and innovative designer based in the Tabriz region in the late 19th century, feature exquisitely detailed motifs and hues in traditional, curvilinear patterns. Moreover, some say, they shimmer like fine porcelain.

Hadji Jalili Tabriz carpet, Persia, circa 1900, fine mansion size: 17 feet 10 inches x 27 feet 9 inches, excellent condition, weight: 205 pounds, realized $25,000 in 2018. Image courtesy of Material Culture and LiveAuctioneers

Jalili’s carpets are famed for exceptional craftmanship, finest vegetable dyes and exceedingly lustrous materials. Many, instead of classic Tabriz deep reds and blues, feature distinctive, finely drawn overall design elements in pale gold, gray or pink palettes, some with traces of indigo blue. These are often set against subdued ivory, wheat, terra-cotta or sand-colored fields scrolled with subtly toned vines and arabesques. Other Jalili rugs feature surprisingly bright, vibrant central medallions against muted, flowered fields.

Though Haji Jalili, or his workshop, created masterpieces in limited numbers, various sizes occasionally appear on the market. Since many tend to vanish into private collections, however, they are increasing difficult to find.

Rare high density, wool/gold Tabriz carpet with 3-D weaving. impressive central medallion with floral design with highly impressive colors, 7 feet 10 inches x 9 feet 6 inches, realized $5,900 in 2015. Image courtesy Tiroche Auction House and Live Auctioneers

While rarity is important in evaluating an antique Tabriz carpet, its designer, pattern, color palette, uniqueness, dye source, knot density, age, condition and size also affect its worth. Though these carpets may prove costly, they are finite in number. So, as time goes by, each tends to hold or even increase in value. As a result, many collectors, decorators, dealers and private clients treasure these creations as long-term investments.

Moreover, Tabriz carpets, like fine paintings or other works of art, are exceptionally beautiful. Those who appreciate their fascinating blend of art, culture and design find that they enhance all decors. Many, as of old, display them on walls, or draped across sofas, chairs, or tables. Others, like royalty, place them beneath their feet.

Majolica: bold, wild and whimsical

NEW YORK – Exuberantly colorful, majolica is often decorated with naturalistic and animalistic themes. Monkeys, rabbits, fish, birds and a menagerie of critters run wild – often molded in high relief – on planters, humidors, teapots, platters, pitchers, umbrella stands, candlesticks, tureens, jardinieres, covered cheese keepers and more.

Mastering the art of function with decoration, majolica’s greatest appeal arguably lies in its whimsy. Collectors crave scarce pieces such as a teapot decorated in the form of a spiny blowfish, a monkey hugging a teapot (his tail forms the handle) or a compote held aloft by a camel.

This rare George Jones majolica Four Continents compote depicting Asia, circa 1875, one of four known, sold for $16,000 in October 2016 at Strawser Auction Group. Photo courtesy of Strawser Auction Group and LiveAuctioneers

“We have found that people collect in many different ways. There are teapot collectors and cheese dish collectors, some collect specific makers like George Jones or Minton, and many collect majolica in general without any specifics,” said Michael G. Strawser, president of Strawser Auction Group in Wolcottville, Indiana, which holds a specialty majolica auction annually.

“Animal pieces have always been desirable. Some of the most valuable pieces have been teapots, animals and other various forms. Value is based on condition and rarity,” Strawser said.

A rare pair of Hugo Lonitz falcons, circa 1880, achieved $60,000 in October 2016 at Strawser Auction Group. Photo courtesy of Strawser Auction Group and LiveAuctioneers

As with any antiques genre, taste is highly subjective. “We have had collectors who wanted tobacco-related majolica, including humidors and match strikers. Most of the collections I have seen over the past 30 years have been varied and not specific to shape or maker. Collectors should always buy what they like,” Strawser said.

A whimsical Minton game tureen and cover, circa 1878, made $22,000 in October 2016 at Strawser Auction Group. Photo courtesy of Strawser Auction Group and LiveAuctioneers

According to the Majolica International Society, majolica debuted on the world’s stage in 1851, when Herbert Minton aided by French chemis Leon Arnoux, showcased majolica at an exhibition held at London’s Crystal Palace. The roots of English majolica, however, owe much to its predecessor, French Palissy ware, which was developed by Bernard Palissy in the mid-16th century. After much trial and effort, Palissy formulated five colors of lead glazes, giving rise to majolica pottery.

“The excitement generated by the richly colored majolica inspired Minton artists to develop art revival styles parallel to those of the Renaissance, Palissy design, Gothic revival and medieval styles, naturalism (by far the most prolific), Oriental and Islamic styles, and figural pieces, both human and mythological,” says a commentary on the society’s website.

A rare, important, and monumental Minton ‘Prometheus’ vase, circa 1875, earned $38,000 in October 2015 at Strawser Auction Group. Photo courtesy of Strawser Auction Group and LiveAuctioneers

Including Minton, several English firms were renowned for majolica, and their best and rarest pieces are highly collectible to this day. Minton made pieces for both the garden and the home, especially dining pieces, which, at the height of the Art Nouveau era, featured a bevy of naturalistic designs. Perennially popular patterns included corn, pineapples, fish, leaves and lilies.

A decade after Minton introduced majolica, Josiah Wedgwood & Sons put its own stamp on the opaque tin-glazed pottery, fashioning pieces that were often more staid and traditional than Minton but still as colorful and sometimes just as whimsical. Its lobster and fish platters are much sought after.

Another name many veteran collectors chase, and whose pieces typically bring top dollar, is George Jones & Son, who learned well from Minton during his seven-year apprenticeship there. At once beautiful and ornate, yet indisputably amusing, George Jones pieces are as well made as any majolica made by Minton or Wedgwood. The best-loved George Jones majolica pieces include compotes, covered cheese keepers and game dishes.

While not very valuable, this creamer by Griffen, Smith & Hill in the Shell and Seaweed pattern is appealing for its shell decoration and creamy pink hue on the inside.

Following the U.S. Centennial in 1876, the American pottery movement embraced majolica – just about the same time it was falling out of favor in England. One of the leading American manufacturers was Pennsylvania-based Griffen, Smith and Hill, whose Shell and Seaweed pattern was well received. Majolica was also made by several firms in Trenton, New Jersey; Baltimore, Keene, New Hampshire; and Ohio.

Strawer noted that majolica that was made between the 1870s to 1890s seems to be the most coveted by collectors. “George Jones and Minton are the most desirable pieces of majolica, however other makers are also sought after, including Hugo Lonitz, which made some highly detailed animal and bird pieces,” he said. “Etruscan made by Griffen, Smith & Hill in Phoenixville, Pennsylvania, is the most common American majolica company.”

A Hugo Lonitz majolica game tureen with a deer atop its cover brought $19,000 in January 2018 at Nadeau’s Auction Gallery. Photo courtesy of Nadeau’s Auction Gallery and LiveAuctioneers

While demand remains high for rare majolica, prices have fallen for the more common pieces. This further reinforces Strawser’s recommendation that collectors should buy what appeals to them, not what they think – rightly or wrongly – might increase in value.

The US Dollar Coin: 500 Years in the Making

Liberty, Eagle, Morgan, Peace, Eisenhower and Sacagawea are a few of the better-known US dollar coins. Most are silver, but some are gold, while others are just “golden” in color. But to trace the origin of dollar coins, we must go back 500 years to a small town in Bohemia.

First, there was the Joachimsthaler …

By 1518, the Counts of Shlick in the town of Joachimsthal in the Kingdom of Bohemia were mining their own silver to create the Joachimsthaler, their own local silver coin. As the coin caught on elsewhere, it became known simply as a “thaler.” Over time,”‘thaler” was translated as “dollar,” which became the official currency adopted by the new United States and eventually by at least 20 other countries as far afield as Hong Kong, Australia and Liberia.

An early example of an original Dutch Thaler that stabilized the weight of silver, eventually becoming the dollar. Courtesy: LiveAuctioneers and Captain Ahab’s Antiques

Then, the ‘Piece of Eight’

Just as the US dollar is the most ubiquitous currency today, the Spanish dollar, or “piece of eight,” was the world’s currency beginning in 1598 and remained legal tender in the United States until 1857. It was equal to the thaler in size and weight but was more accessible. During the colonial era, England insisted that the colonies supply them with silver and reduced its silver coinage accordingly. The Spanish dollar filled the void until the Coinage Act of 1792 changed all that.

The United States adopts a currency

Once the US Constitution was adopted, the new Congress was able to provide more economic stability in the national economy through its standardized coinage. President George Washington signed the Coinage Act of 1792, which officially adopted the dollar as the national currency within a decimal system, making the United States the first country to do so.

Mint marks were added to coins to show which US Mint produced them. Initially, there were nine US Mints, beginning with Philadelphia (no mint mark until 1980 when P was used). Subsequent marks were: C for Charlotte, North Carolina; D for Dahlonega, Georgia (1838-1861); O for New Orleans; S for San Francisco; CC for Carson City, Nevada; D for Denver (1906-present); M for Manila, The Philippines; and W for West Point, New York.

Silver Dollars Were the First

A total of eight silver dollars have been issued by the US Mints since 1794, with the American Eagle being the most recent.

The first dollar minted after the Coinage Act of 1792, this Flowing Hair Dollar example sold for $1,800 in 2012. Courtesy: LiveAuctioneers and Kennedys Auction Service LLC

Flowing Hair Dollar (1794-1795; no mint mark)

The Flowing Hair Dollar was the first official dollar coin minted in the United States under the Coinage Act of 1792. It was intended to equal the Spanish Dollar in size and weight. It became known as the Flowing Hair Dollar in reference to Liberty’s long hair that flowed past her shoulders, as designed by Chief Engraver Robert Scot. The coin’s composition was 90% silver (more than the 89.2% was required per the Coinage Act of 1792) and 10% copper. Only 1,758 of these silver dollars were hand-pressed in 1794, with an additional 160,000 or so minted in 1795, the last year of production. There is no mint mark.

The Draped Bust Dollar (1795-1803; no mint mark)

Lady Liberty was featured on the obverse with flowing hair to the shoulders showing a more open bust draped with cloth, as was the fashion of the day. It’s said that the model was from a portrait, possibly by Gilbert Stuart, of socialite Ann Willing Bingham, but it is not certain. The reverse is characterized by a small eagle on coins that were minted from 1795 to 1798 and a more majestic heraldic eagle on those examples minted from 1798 through 1803. The composition returned to the original official composition of 89.2% silver and 10.8% copper authorized by the Coinage Act of 1792. There is no mint mark. Silver dollars were no longer minted after 1806. There was a Draped Bust Dollar with an 1804 mint date, but it was actually struck in 1835 and intended only for official overseas gifts as part of commemorative sets. None were circulated, and only six are known to exist.

Gobrecht Dollar (1836-1839; no mint mark)

Named for engraver Christian Gobrecht, the Gobrecht Dollar was the first silver coin to be reissued (in 1836) since the discontinuation of the Draped Bust Dollar in 1806. The design was a sitting Lady Liberty with a composition of 89.2% silver and 10.8% copper, as authorized by Congress in 1792. One of the rarest US dollars minted (about 1,000 may have been minted), the engraver’s name appeared prominently at first under Liberty, but later was reduced and finally eliminated altogether. It was discontinued in 1839, and is worthy of note that all Gobrecht Dollars struck in 1837 bore an 1836 date. There were restrikes in 1859 and 1860 that would show the eagle on the reverse flying straight rather than forward when tilted on its axis.

This design by Chief Engraver Christian Gobrecht shows Liberty seated for the first time. It was minted with two different reverses. The earlier version is shown here. Courtesy: Wikipedia, US Mint and Heritage Auctions

Seated Liberty Dollar (1840-1873; no mint mark, O)

In 1840 a new silver dollar was minted with a seated Liberty engraved by Christian Gobrecht. It’s composition returned to the 90% silver and 10% copper of the earlier Flowing Hair Dollar and were struck at the Philadelphia Mint until 1846 when production included the New Orleans Mint (O), the San Francisco Mint (S) and the Carson City Mint (CC) after 1858. In 1866, the motto “In God We Trust” was added to the Seated Liberty Dollar for the first time. Production ended in 1873.

Trade Dollar (1873-1885; no mint mark, CC, S)

The Coinage Act of 1873 stopped production of circulating silver dollars, putting the country firmly on the gold standard, where it would remain until 1971. A Trade Dollar was instead minted for use as currency, primarily for payment in trade to China and the Far East. It did circulate in the US as a coin for business transactions, but was unpopular because it traded for less than the $1 face value due to the low value of silver and was legal tender only up to $5. The circulation of Trade Dollars ended in 1878, with only proofs officially produced until 1883 (10 dated 1884 and 5 dated 1885 weren’t discovered until much later).

So named for Assistant Engraver George T. Morgan who, in 1878, designed the first circulating silver dollar since the Seated Liberty Dollar was discontinued in 1873. Courtesy: Wikipedia and Brandon Grossardt

Morgan Dollar (1878-1904, 1921; struck with no mint mark or with CC, S, O, or D)

Silver interests prevailed in returning the US to a silver coin with the Bland-Allison Act of 1878. It authorized the minting the first new legal tender silver coins for circulation since 1873. Assistant Engraver George T. Morgan designed a Liberty Head on the obverse from a profile of Anna Willess Williams of Philadelphia, and an eagle and olive branch design on the reverse. It remained in circulation through 1904 and was again minted in 1921. It was the longest-circulating of all US silver coins.

Peace Dollar (1921-1928; 1934-1935; struck with no mint mark or with D or S)

With the passage of the Pittman Act of 1918, silver interests again prompted government to strike a new silver dollar coin at a fixed price of $1 an ounce. About 270 million new silver coins were minted overall in the form of a Peace Dollar. So named for the word “Peace” under the bald eagle resting on a branch on the reverse, it symbolized the end of World War I in 1918. The coin’s designer, Anthony de Francisci used his wife, Teresa, as the model for Liberty on the obverse. Production was interrupted in 1928 until a new Congressional act allowed for additional coins, about 7 million, to be struck in 1934 and 1935, after which the dies were destroyed.

American Silver Eagle (1986-present; no mint mark for bullion, P, S, W for proof sets)

Although this new American Silver Eagle was minted at three US Mints (Philadelphia, San Francisco and West Point), no mint marks were added for the bullion strike (bullion coins were kept mostly for trade). Only the proof sets that were bought by collectors were struck with mint marks. From 2006 to 2008 and again in 2011, a series of uncirculated coins was struck with the W mint mark. Special Issues such as the “Philadelphia Set” of 1993, the “Legacies of Freedom” set of 2004 and 10 other different commemorative sets included the American Silver Eagle coin. A 2008 version was struck on a 2007 die and is considered a rare error coin.

1964-D Peace Dollar (1964-1965; D)

A reissue of the Peace Dollar in 1964 was intended as a new circulating dollar coin, but objections were raised that the coin was intended mostly for collectors and was therefore a waste of Mint resources if it didn’t circulate. About 316,000 of the new silver dollars were minted in Denver, but they were withdrawn and subsequently melted down. No known example is said to exist (a private mint later struck a base-metal commemorative one).

Dollar Coins Struck in Gold

Only three gold dollar coin designs were struck for circulation in the United States, and only between 1849 and 1889 (commemoratives were struck between 1909 and 1922, but never circulated). Each was minted in 90% gold (about .048 a troy oz) and 10% copper measuring only about a half-inch in diameter.

Liberty Head (1849-1854; struck with no mint mark or with C, D, O, or S)

After much debate through the years, a gold coin was finally struck in 1849. Called “Type 1,” it was designed by engraver James B. Longacre to show Liberty with a coronet facing to the left and surrounded by 13 six-pointed stars. On the reverse was an olive wreath (some minted open at the top; others closed), the year 1849 and the legend “United States of America” and “1 DOLLAR” in all caps. There are five different design variations, one with an “L” for Longacre on the obverse.

Liberty is engraved as a small Indian Princess with a coronet known as ‘Type 2’ and minted in 1854. Courtesy: Wikipedia and US Mint

Indian Head (1854-1859 small head; struck with no mint mark or with C, D, O, or S)

This coin, called “Type 2,” is similar in pattern to the Liberty Head, except the obverse shows a small head of an Indian princess with a feathered coronet on the obverse, with the legend “United States of America” along the rim instead of the 13 six-pointed stars. The reverse shows a larger wreath of cotton, corn, tobacco and wheat rather than the previous olive branches.

Indian Head (1859-1889 large head; struck with no mint mark or with C, D, O, or S)

Known as “Type 3,” the last gold dollar coin in circulation featured an Indian princess with a larger, more fully developed head with a fuller feathered coronet on the obverse (face). The reverse was very similar to the ‘Type 2’ design, both from Engraver James B. Longacre.

Dollar Coins Struck in Base Metal

There were four distinctive dollar coins struck in base metal, the Eisenhower Dollar, the Susan B. Anthony Dollar, and the two gold-colored ones known as the Sacagawea Dollar and the Presidential Dollar. None have circulated well and were discontinued after a relatively short time.

The first base-metal circulating dollar honored President Dwight Eisenhower, who died in 1970. It features the Apollo 11 moon landing on the reverse. Courtesy: Wikipedia and Brandon Grossardt

Eisenhower Dollar (1971-1978; 1975-1976 Bicentennial; struck with no mint mark or with D or S)

Newly authorized in 1970, a new circulating dollar coin featured a profile of President Dwight D. Eisenhower by engraver Frank Gasparro with the phrase “In God We Trust” on the obverse (a national motto adopted in 1956 during Eisenhower’s Administration).

On the reverse was a tribute to the Apollo 11 moon landing of 1969 (Eisenhower had created NASA in 1958). The design was based on the NASA mission patch depicting an eagle clutching an olive branch near the surface of the moon, except for the years 1975-1976 when a Liberty Bell design was substituted to celebrate the US Bicentennial.

The coin was a relatively large size at 1.5 inches and difficult for consumers and merchants to use. As a result, it was unpopular, except at casinos. There are silver and proof sets that collectors know as “blue Ike” (encased in a blue US Treasury presentation box) and “brown Ike” (encased in a brown presentation box with a silver Great Seal-type logo).

Susan B. Anthony Dollar (1979-1981, 1999; P, D, S)

A new dollar design was favored over the cumbersome Eisenhower Dollar with the image of 19th-century women’s rights advocate and anti-slavery activist Susan B. Anthony. Frank Gasparro was chosen to engrave her image on the new coin.

The new coin would be only about an inch in diameter, just a shade bigger than a circulating quarter, and thus was often confused by consumers. The reverse continued the Apollo 11 tribute from the previous Eisenhower Dollar, sparking criticism that it had no relevance to Susan B. Anthony at all. The coin had a unique 11-sided border. Overall, the coin was not well received and was used mostly by the post office, mass transit authorities and the vending machine industry.

The 1981 strike of this coin is more valuable because it was issued mostly for collectors. The 1999 proof series and some 1979 and 1981 mint marks are also of collector interest.

Sacagawea Dollar (2000-present; P, D, S, W)

It is nicknamed “the golden dollar” because of the shiny gold-colored manganese brass that covers the mostly copper coin. The obverse features a three-quarter profile of Sacagawea, the Shoshone scout for the Lewis and Clark expedition to the Pacific in 1804, as designed by artist Glenna Goodacre.

The reverse was a flying eagle design with a wide spread-wing design by Thomas Rogers. This coin design (with a smooth edge) would be in circulation from 2000 to 2008. From 2009 to the present, the reverse would feature a new design each year depicting Native-American life by different artists with a lettered edge of stars, the motto “E Pluribus Unum” and the strike date.

As with the earlier base metal dollar coins, the Sacagawea Dollar was not popular in circulation even with a mass marketing program by the US Mint (even giving them away in boxes of cereal as prizes). However, they have proved useful for fare boxes and the vending machine industry.

Presidential $1 Coin Program (2007-2016; P, D)

Another “golden dollar” with a similar composition of manganese brass over mostly copper as the Sacagawea Dollar featured each of the presidents of the United States in order of election beginning with George Washington. The entire series lasted until the Ronald Reagan presidential coin was struck in 2016 (living persons are not featured on coins), after which the program was discontinued. Coins struck from 2012 (Chester A. Arthur) were minted only for collectors.

The reverse featured the State of Liberty by engraver Don Everhart with the motto “United States of America” and “$1.” Edging included the year, mint mark, 13 stars, and the legend “E Pluribus Unum” or “In God We Trust” from 2007-2009. Some Washington and John Adams dollars were missing the edging or had double edging, but there are relatively few, making them highly collectible.