Yearbooks: Not So Embarrassing When They’re Collectible

Remembrances have been around for centuries in the form of scrapbooks containing special things – ribbons, drawings, handwritten stories, dried flowers, even hair. Bound together, these items have a way of keeping memories alive.

A new way of commemorating personal experiences was introduced in 1806 with the publication of the first college yearbook. It was produced by Yale and titled “Profiles of the Class Graduated at Yale College.” There are no known surviving copies of the book. The “Signia,” a yearbook from the 1823 graduating class of Massachusetts College of Pharmacy, is believed to be the oldest extant college yearbook. As for the oldest high school yearbook, that honor goes to the 1814 edition of “The Cue,” from Albany Academy in Albany, New York.

It’s not certain what each of these yearbooks contained, but a best guess is that they might have been formatted in scrapbook style and focused only on the graduates.

1877 university scrapbook with remembrances and advertising cards. Images courtesy of Uniques and Antiques Inc., and LiveAuctioneers Archive

Photography would change how yearbooks looked. As early as 1826 or so, a practical image was made from a camera obscura by French inventor Nicéphore Niépce. His View from the Window at Le Gras is considered the earliest surviving photograph. Since yearbooks are all about visuals, Niépce’s invention would change and define the yearbook over time.

Early Photographs

The 1845 edition of “The Evergreen” is the oldest surviving high school yearbook issued by Waterville Academy in New York City. Highlighting its academic and other activities, the yearbook also allowed daguerreotype images to be tipped in by hand.
When the daguerreotype fizzled out by the end of the 1850s, George K. Warren, a photographer specializing in portraits in and around Boston, moved on to the more useful tintypes where more copies could be produced from a single negative – a useful breakthrough. Concentrating on college portraits, patrons bought several copies of their image and passed them around to their friends. Your friends then gave you a copy of their photographs, and after amassing a selection, you could have them bound in a book of your own.

However, yearbooks were only for seniors at college and high school and were quite expensive to produce. This remained the case until the 1870s, when the albumin process made it easier to mass-produce photos.

Gravure Printing

By 1880 or so, printing by the offset process made mass production of books, newspapers, and advertising more economical and commercially available. Utilizing an intaglio process, photographs could be more easily reproduced and rendered in higher quality using a photogravure process. Because such images were produced by hand, it was limited to fine prints.

Princeton University Yearbook of 1899 showing then-new rotogravure printing of half-tone photos. Image courtesy of Quinn’s Auction Gallery and LiveAuctioneers Archive

However, it is the rotogravure process that enabled photographs and images to be printed using a rotary printing press. With this process, yearbooks became more widely available, with images and photographs using the half-tone printing process. By 1920, all yearbooks included more than just the graduating class; they also included club activities, sports teams and individual graduate poses.

Lithography

Beginning in the 1930s, high school and college yearbooks became much more affordable for the average family thanks to offset lithography. They began to be produced for graduating classes everywhere.

Availability to Collectors

It isn’t difficult to find 19th-century scrapbooks at auction. Most are filled with clips of newspapers and other items of personal interest, but they contain virtually no photographs or advertising to tell a more compelling story.

Almost all vintage yearbooks that show up at auction are from the beginning of the mass-production movement, which started around 1920. They include individual images, sports activities, clubs, histories, personalities and even advertising.

The Seminole, 1946 and 1947, University of Florida yearbooks. Courtesy Florida Estate Sales LLC and LiveAuctioneers Archive

Collecting yearbooks, particularly those from high schools, is a favorite pastime for fans looking for early photographic depictions of current celebrities. Having an insight on stars and public figures at a time when their personalities were not fully formed adds an interesting dynamic to the individuals we now know.

For example, Neil Armstrong, who, in 1969, became the first man to set foot on the moon was something of a recluse later in life, choosing privacy over the trappings of celebrity. His autograph became harder to obtain, as he refused all requests for his signature. A 1947 high school yearbook that recently sold for $2,050 shows a handwritten signature in capital letters. Very unusual.

Neil Armstrong signed his Blume High School (Wapakoneta, Ohio) yearbook in all caps. The description of Armstrong reads: “He thinks, he acts, ’tis done.” The book sold for $2,050. Image courtesy of RR Auction and LiveAuctioneers Archive

Yearbooks provide a snapshot in time that goes beyond the embarrassing senior photo. The advertising in yearbooks, for example, provides a frame of reference for local histories. The activities or clubs that were important at that time may have disappeared, and athletic achievements may have been forgotten.

Yearbooks are plentiful; in fact, the supply is overwhelming. There are about 17,000 to 25,000 or so high schools in the United States. If each school produces a yearbook with an average of about 500 students or so per graduating class, that could mean about 8.5 million to 12.5 million yearbooks published per year and that’s not including colleges and universities. Most yearbooks continue to sell at auction in the $10 to $30 range. A premium is paid for any that contain a student who later became famous, whether an actor, politician, athlete or other public figure.

Examples of albumin photo processing are seen in this 1870 West Point Officers yearbook. Image courtesy of Alderfer Auction and LiveAuctioneers Archive

Additionally, yearbooks now encompass more than just colleges and high schools. Military graduating classes such as boot camp, specialized training, and naval tours all have their individual yearbooks commemorating the class or event. Businesses also have created yearbooks for anniversaries and yearly conferences, and so do sports teams. The New York Mets have issued a yearbook annually since 1962.

The New York Mets baseball team has issued yearbooks since 1962. Image courtesy of Baker’s Antiques and Auctions, and LiveAuctioneers Archive

Lastly, unlike other collectible categories, there are no specific price guides for yearbooks or organized collecting associations. However, there is no shortage of collecting opportunities with yearbooks. They encompass art, culture, language, advertising, and personalities. They also tell the story of printing and photography. That’s what makes collecting yearbooks a fascinating and long-lasting avocation – one year at a time.

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Sources:

Konkle, Bruce E., A Preliminary Overview of the Early History of High School Journalism in the U.S.: 1775-1925, University of South Carolina-Columbia, 2013

Yearbook History: https://photoographybriana.weebly.com/yearbook-history.html; NPR https://www.npr.org/sections/pictureshow/2010/06/03/127412786/yearbooks

About George K. Warren, J. Paul Getty Museum:

http://www.getty.edu/art/collection/artists/2878/george-kendall-warren-american-1834-1884/

Petroliana: Separating the real from the unreal

It’s no secret that fakes, frauds and forgeries have infiltrated virtually every corner of the antiques and collectibles market. Counterfeiters have tried to replicate everything from rare coins to Confederate belt buckles in hopes of passing them off as items of great value. And some fakes are very, very good – good enough to fool even prestigious art museums with world-class experts on staff to vet their acquisitions.
Until the 1970s and ’80s, the field of petroliana was pretty much immune to this sort of nefarious activity. It was a sleepy sub-genre of vintage collectibles, supported mainly by classic car and gas station enthusiasts. Almost nothing in the field carried great monetary value. Signs, oil cans, gas globes and pumps were pretty cheap to come by. But starting in the 1970s, and certainly in the ’80s and ’90s, everything changed as the category got more organized and the nostalgia craze took hold.

Thirty-inch Sinclair HC porcelain signs. The one at left is a rare original. The one shown at right is a poorly made reproduction. Notice the large ‘C’ that doesn’t match anything Sinclair ever incorporated into their signs. Images courtesy Petroleum Collectors Monthly

“The fakes started showing up when car guys began looking for items to put in their man-caves and garages,” said Wayne Henderson, the editor and publisher of Petroleum Collectibles Monthly. “Those reproductions started out innocently enough as restoration supply items, and they were marketed and priced out as such. Then, folks started re-working old globes and signs, often without doing a whole lot of due diligence or research. In those instances, the frauds were easy to spot. But it didn’t matter so much, because prices hadn’t taken off yet.”
Fast forward to 1992, at an auction in Charlotte, North Carolina. Over time, signs had risen in value. Henderson, who attended that event, estimated that “80 percent of what was in that auction was fake.”

At left is an authentic 1938 lithographed-tin Texaco Sky Chief curb sign. This sign and globe lenses (examples not shown) are the only legitimate non-print uses of the Sky Chief logo in a round format. At right is a neon-added 24-inch lithographed-tin fantasy sign. Neon was used in gas stations only on identification signs or building signs and lettering. This sign is much too small for any logical use. Images courtesy Petroleum Collectors Monthly

It was a wake-up call not just to him, but also to the industry as a whole. He and a colleague, longtime petroliana insider Scott Benjamin, began to write books to enlighten collectors to the dangers of buying a worthless knock-off advertised as the real McCoy. They pretty much succeeded in cleaning up the fake gas globe and gas pump trade.
Oilcans, too, have been faked, but they’re difficult and labor-intensive to produce, so they’ve never been a real factor. “I’ve seen decanter-style phony cans that wouldn’t fool a two-year-old,” Henderson remarked. “Some others have been cleverly made and can reach prices approaching five digits, but I think the payoff just isn’t worth the time and effort.” So, with cans, globes and pumps largely under control, that left just one problem area: signs.

The sign at left is a known original, with holes for mounting onto truck panels and other places. The colors and hand-stenciled irregular stroke lettering are correct. The sign at right is a fake lithographed-tin sign. It has no mounting holes, the computer-set typeface for ‘Pennsylvania Motor Oil’ is too sharp and the wrong color, and it is missing the border and motto that appear on the original. Images courtesy Petroleum Collectors Monthly

Face it, when a single Musgo, Harbor or Clipper sign can bring $50,000 or more at auction, it’s no surprise that people will be out there trying to fake them and pass them off as genuine. To be clear, most reproductions are clearly marked as such and are not meant to deceive the public. But the problem of fakes is so prevalent that a new company has sprung up to combat it. It’s called The Authentication Company (or TAC) and was co-founded by Dan Matthews, a petroliana auctioneer and expert who’s authored several books on the subject; and Joey Whiteside, a lifelong petroliana collector who specializes in advertising signs. The firm is headquartered in Nokomis, Illinois, and is online at www.MatthewsTAC.com.
TAC specializes in marketing original period-correct items, including signs, globes, cans, metal thermometers, displays and various other advertising items, but with a heavy emphasis on porcelain signs (and tin, to lesser extent). It guarantees that all items that have been marked with its special security holograms and serial numbers are original. “Many fakes are pouring into the country from places like India, China, eastern Europe, the Philippines… and, of course, some are made here in this country, too,” he said. “Most repros are easy for the trained eye to spot, but the last thing a collector or auction house needs or wants is a fake.”

The known original porcelain sign at left has a smooth finish, irregular hand-lettered lettering, and a white border ‘T.’ The sign at right is a fantasy reproduction Sky Chief pump plate. It is lithographed tin as opposed to porcelain, has an embossed logo, computer-typeset ‘Texaco,’ and a black-border ‘T,’ which was never seen on original Sky Chief pump plates. Images courtesy Petroleum Collectors Monthly

Matthews said there are eight things to consider when examining a porcelain sign for authenticity. They are as follows:
• Size and style. Was the size or style of sign ever even made? (remarkably, oftentimes it wasn’t). If, for example, a size was only made in a 30-inch and a 40-inch size and you see one that’s 24 inches in diameter, run the other way.
• Quality. Look at the sign for its overall quality of workmanship. Does it look and feel real? Original signs have crisp, clear lines and edges on all letters and graphics, and were made with porcelain covering all sides. If a sign is missing enamel on the sides or inside the grommet holes, it’s probably a reproduction. The enamel inside the grommet holes can get chipped away, but there’s usually some evidence of its prior existence.
• Stamps. Pay close attention to the stamps printed on a sign. These will often tell the date a sign was made, or the company that created it. For example, reproduction Mobil signs are supposed to be marked with the words, “Licensed by Mobil Corporation,” but a huckster may try to knock off the finish where the distinguishing words are located.
• Holes. Are the holes in the right places? Some signs look very close to the originals, but the holes that were meant to be used in hanging the signs don’t appear in the right places.
• Grommets. Does the sign have grommets in the mounting holes? Almost all original signs had them at one time or another. If the sign doesn’t have grommets, there should be some chipping in the holes since they were most likely there at one time.
• Color. Are the colors and/or sign design accurate? Compare the sign to others that you know to be legitimate. If the color of the sign is a little off, this is a red flag. It’s not a mistake that would have been made by the factory. On original signs, the paint color will always be consistent.
• Feel. Does the back of the sign feel like sandpaper? The backs of most porcelain signs are smooth, or have some texture, but if the back is rough, it’s probably a fake. There are exceptions. The porcelain on the back of an original sign is usually not as thick as the front, so that’s almost always the first place it will rust. Also, if a sign has been buried in the ground for a while to artificially render the effect of “ageing,” the back will start to rust, which can make it feel like sandpaper.
• Design. Many repros are “fantasy” pieces – signs that are appealing to the eye but were never created that way. The fabricators take the logo and colors of a company and invent a new, eye-catching piece they think people will want to buy. This is fine, so long as the sign is clearly marketed as a reproduction and not an original. Unfortunately, some people (new collectors, especially) are dazzled by what they see, believe it to be original, and as a result, overpay for it.

The original sign at right included grommets (see 6 o’clock hole). The fake at left has none. The real sign has a vertical white outside line to the left of the ‘B’ in Buick (just above the tip of the curlicue), while the fake has none. The bottom of the ‘B’ should have a wider, flowing curve, per GM specs; but on the fake sign it’s squeezed together. Image courtesy Petroleum Collectors Monthly

Matthews and Henderson both agree that best way to protect oneself against being knowingly or even unknowingly sold a fake sign is through self-education. They strongly urge newbies and even seasoned petroliana collectors to read guidebooks, join clubs, talk to people who are knowledgeable in the field and – most importantly – always buy from reputable auction companies or dealers who are familiar with the items they’re selling.
Remember, there are a lot of great auction houses and dealers who unwittingly sell reproduction items to the public because they’re not entirely familiar with a particular genre of collectible. As with many things in life, the caveat emptor (buyer beware) rule definitely applies when buying petroliana for your collection – most especially porcelain signs

Both the 8-inch Texaco sign at left with a white-outlined T and the 15-inch Texaco sign at right with a black-outlined T are authentic. The heavily pitted 12-inch sign shown at right is a phony that was aged to deceive the unsuspecting. Errors include an incorrect typeface for the word Texaco, computer typeface oversized registration text, and a fake date. Images courtesy Petroleum Collectors Monthly.

Pest Control In Pretty Packages

It is difficult to comprehend that some of our smallest works of antique art took their inspiration from disease, foul odors and fleas, yet the facts are indisputable.

Imagine a typical overcrowded 18th- or 19th-century city without plumbing facilities, where refuse littered the streets and animals roamed freely. Consider the multiple layers of heavy clothing people wore year round and how rarely those same people bathed, if at all. There was little oral hygiene and no hygienic paper products. There were no washing machines and no routine garbage collection. It was a world where rodents ruled and both animals and humans carried fleas. There was Febreze, although it was certainly needed.

How would a person mitigate these circumstances enough to make life bearable? If you were poor, you could not. If you were well heeled, however, you could purchase a vinaigrette or fancy flea trap.

This hollowed, Russian hand-carved bone flea trap dates to the 18th century. It is 2 inches tall and 3 1/2 inches in circumference. The owner would cut a strip of cloth, rub honey on one side, saturate the other side with blood, then slip it within the flea trap. The blood attracted fleas, they entered through the many carved perforations and stuck to the honey. Most flea traps are straight and tubular, but this flea trap displays the Russian penchant for the onion dome. Image courtesy Dr. Anthony J. Cavo

To the wealthy, flea traps were every bit as much an accessory as jewelry, hats, gloves or a fan. They were worn around the neck, tucked into clothing, stashed under a wig, or placed in a bed. Flea traps have been in use since the Middle Ages. They were made of silver or ornately carved ivory or bone, their beauty shrouding their unpleasant purpose.

Early flea traps, which are scarce to begin with, are even more difficult to find because they are often misidentified as vinaigrettes or even needle cases. As a result, comparative pricing can be tricky. Linear, cylinder and bulbous shapes are the most common forms and sell in the $250 to $300 range, although there is one 17th-century example currently listed online for $20,000, a highly inflated price.

An interesting fact to note is the origin of the color puce. “Puce” is the French word for “flea,” and by extension, the color of the stain remaining on a bedsheet after a sated flea has been crushed. You may never think of puce in quite the same way again.

19th century pomander that might also have been used as a flea trap, carved from coquilla nut, the fruit of the Brazilian palm: the coquilla nut. The top and bottom halves are turned in opposite directions to open this case, which is 3 inches tall and 5 1/2 inches in circumference. These beautiful pieces can be readily found online in the $20 to $30 range. Image courtesy Dr. Anthony J. Cavo

Throughout history, foul odors were another unpleasant aspect of daily life. Although, of necessity, people became accustomed to the circumstances that caused the odors, they still attempted to alleviate them. During the Middle Ages people began to use pomanders to introduce a pleasant fragrance to the environment. Initially, pomanders were made at home, much like those we still make during the holidays. People used citrus fruit pierced with herbs like cloves or they saved the skin of an orange and stuffed it with a rag or sponge that had been soaked in vinegar. Oranges and vinegar were believed to have the power to ward off illness.

Pomanders were also made of silver and gold, often with enamel work or even mounted with gems. These would be filled with sponges or cloths infused with scents. They were worn around the neck, wrist or on a chatelaine. They could also be placed in a trunk or cabinet with clothing.

Another innovation that soon largely replaced the pomander was the pouncet box. Pouncet boxes emerged during the late 16th century in England and were used primarily by the wealthy. The pouncet box was flat and circular in shape with a perforated lid that held vinegar-soaked sponges or cloths. Both men and women carried pouncet boxes to overpower any foul odor and, more importantly, to offer protection from infected air, then considered to be the source of contagion.

This 1851 Dutch Lodereindoosje or Loderein box, also known as a vinaigrette, is a hinged box type. The name Loderein is the Dutch phonetic variation of the French phrase “l’eau de reine,” which means “queen’s water.” It retains the original sponge and a hint of scent. Visible marks on this piece include the Dutch lion passant, the 1851 date letter “R” and the Minerva-head duty mark. Boxes such as this are often misidentified at antique shows as snuffboxes. Image courtesy Dr. Anthony J. Cavo

By the late 18th century, the pouncet box evolved into a smaller silver container known as a vinaigrette, from the French word for vinegar – vinaigre. The vinaigrette worked on the same principle as the pomander and pouncet box. Aromatic substances dissolved in vinegar or concentrated scented oils were used to saturate sponges or fabric placed in the vinaigrette, which was carried in a pocket, worn around the neck or suspended from a chatelaine. The amount of detail silversmiths managed to apply to such small pieces is quite remarkable. These are truly artworks.

Novelty vinaigrettes in the form of musical instruments, shoes, wallets, satchels, hearts, eggs, nuts, and even books were very popular during the 19th century and are highly desirable today. The violin vinaigrette shown here is valued in the $500 to $600 range.

The 3 1/4-inch long 19th-century Dutch vinaigrette was made in the form of a violin or cello, complete with pegs, string, bridge, scroll and “f” holes. It is decorated with scenes of a dock with a ship in the background and putti performing various tasks. There are wine barrels, wheels of cheese and, most interestingly, a figure in the background holding a caduceus, perhaps supporting the belief that the vinaigrette was a prophylaxis against disease. Image courtesy Dr. Anthony J. Cavo

By the mid-19th century, the popularity of the vinaigrette was waning. Younger women viewed vinaigrettes as outdated accessories carried by older women who used them more for their invigorating effect than as a prophylaxis. During the early 20th century they were collected as curiosities and regarded as bjets d’art or bibelots. Chances are you have overlooked these treasures at an antique show or auction. They are usually exhibited in jewelry display cases and can be easy to overlook when they’re jumbled together with other items.

Knowing about flea traps, typically identified as pomanders, will afford you the opportunity to obtain an antique far scarcer than vinaigrettes – an antique not many people have in their collection.

While on the subject of fleas and flea markets, do you know the origin of the term “flea market?” The phrase is derived from the French name “marché aux puces” (market of fleas) that applied to a market in Paris specializing in secondhand goods, especially clothing of the sort that might contain fleas. The Oxford English Dictionary cites the date 1922 as the year when the phrase was first used in its English translated form.
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By DR. ANTHONY J. CAVO

Our thanks to Antique Trader for sharing this article. Click to visit Antique Trader online.

Elongated Coins: Make Your Money Stretch

You don’t need to have an interest in coins to get started in coin collecting. An affordable alternative to traditional numismatics is the elongated cent. Just find a machine, plug in a penny and a couple of quarters (to pay the cost), crank the wheel to squash the penny and imprint a design, and you get a memento that will last forever.

Elongated coins (also known as elongated cents, stretchies, squashed cents, or rolled cents) are made by forcing a coin, token or metal blank between two steel rollers. The design engraved on one roller (die) is then transferred to the coin, turning what was just moments before legal tender into a memento valued to the maker at more than a penny.

Cindy’s cents machines at Natural Bridge, Virginia (6477 S. Lee Highway, Natural Bridge, Virginia). Courtesy of Cindy Calhoun/Cindy’s Cents

Speaking of legal, many people think it is illegal to alter U.S. coins by smashing them. However, it’s perfectly legal to roll pennies. U.S. Code Title 18, Chapter 17, Section 331 prohibits, among other things, fraudulent alteration and mutilation of coins. This statute does not, however, prohibit the mutilation of coins if done without fraudulent intent or if the mutilated coins are not used fraudulently.

These coin curios have been around for more than a century. The first elongated coins in the United States were made in Chicago during the 1893 World’s Columbian Exposition. The enterprising individual(s) who brought a rolling machine to this world’s fair to press designs on coins created a whole new type of collectible, falling into the exonumia category of numismatics, which includes all things coin-related. Ever since that Chicago World’s Fair, entrepreneurs and collectors have taken a shine to pressing coins.

Elongateds fall into three general production classes: oldies, modern and contemporary. From the period 1893-1965 come the “oldies,” which were issued primarily at national and world expositions. Circa 1965-circa 1985 coins are considered “modern elongateds,” which were created primarily by private rollers. Contemporary elongateds, circa 1985-present, are made largely by commercial penny presses, such as those found in many zoos, parks and other amusement sites.

Custom coin designated by Cindy Calhoun commemorates the C&O Canal, DC to Cumberland, Maryland. Courtesy of Cindy Calhoun/Cindy’s Cents

Cindy’s Cents has specialized in custom elongated coins and penny machines since 2006. The business has about 30 public machines placed in West Virginia, Virginia and a few machines in Maryland. [Their website, www.elongatedpenny.net, lists the specific locations and offers elongated coins from those machines for 75 cents apiece.] The company is headed by Cindy Calhoun [TEC #3467] of Shepherdstown, West Virginia. She is also a squashed penny enthusiast and has thousands of elongated coins in her collection.

Calhoun says her collection started with elongateds from places she visited when she was growing up. “I didn’t consider myself a collector back then, I was just getting souvenirs,” she explains. “I became more involved with the hobby as an adult; then trip routes were planned around where the penny machines were located.”

Currently serving as president of the Elongated Collectors, Calhoun is also a private roller – someone who designs and rolls elongated coins for clients.

1915 Pan-Pacific International Expo in San Francisco PPIE elongated penny with Tower of Jewels, priced at $25. Courtesy eBay seller BJStamps

The Elongated Collector (www.tecnews.org) is a nonprofit organization that was founded in 1966. The group’s official mission is to “educate, encourage and promote the study, acquisition and exhibition of elongated coins;” assisting new collectors and youth rank high on their priority list. Benefits of joining the group include being a part of an active collecting community that makes it easier to buy, sell and trade elongated coins; receiving informative quarterly newsletters filled with articles written by TEC members – plus at least two free elongated coins with each issue; and access to a wealth of information about elongated coin history and realistic and consistent values of elongates.

Modern and contemporary elongateds make up the lion’s share of the pressed coin population, but there are still plenty of oldies to pursue. Oldies tend to cost the most to acquire.

Calhoun explains, “The first known elongateds were at the Columbian Exposition in 1893. Surprisingly, these can still be found for a reasonable amount ($25-$40). Many key events in the U.S. have been commemorated on an elongated. The early elongateds were prominent at the world’s fairs, and many elongated collectors specialize in the coins from those events.”

1906 San Francisco Post Office elongated cent. Uncirculated 1906 Indian cent showing image of the San Francisco Post Office. Sold for $34. Courtesy Heritage Auctions

According to the TEC, “Prices of elongated coins vary depending on the number rolled, age, denomination, popularity of topic or event, even the condition of the coin.” Help with determining rarity comes from the book Yesterday’s Elongateds, which is a helpful resource for collectors of older elongated coins. It includes listings of oldies along with a rarity scale. As for condition, in addition to considering the state of the metal itself, elongated coins on which the design is completely visible are more desirable than those with the design cut off (rolled short) or those with long “tails.”

Calhoun shares helpful insights when considering value: “The older elongateds that were made in limited numbers sell higher than those from public machines. The most expensive elongated is the Pike; it’s pictured on the front of Yesterday’s Elongateds and last sold at auction for more than $4,000. However, most current elongateds can be purchased for less than a dollar, and the older elongateds vary depending on the host coin (one rolled on a gold coin will obviously be more), when it was made, and the number of that coin that are known to exist.”

Rare 1910 Grand Army of the Republic elongated cent. The host coin is an uncirculated 1910 Lincoln cent, $81. Courtesy of Heritage Auctions

While there are possibly hundreds of thousands of elongated cents to pursue, building a collection doesn’t have to be on a grand scale. Stretched penny fans can create a collection of any size that reflects their own personal interests. In fact, Calhoun recommends focusing a collection. “You can’t collect them all. Some people collect by location (i.e., all related to a particular city or state). Others have collections by theme (zoos, sports, events, Disney, Christmas, etc.), or by the engraver or roller,” she says. Modern and contemporary designer initials are often included in the design, usually in the border or at the edge of the design.

There are some aspects that most collectors agree on: Pre-1982 copper cents are best for rolling. According to the U.S. Mint [www.usmint.gov], the metallic composition of pennies has changed several times since 1792. As it relates to elongated pennies, from 1864 to 1962, the cent was composed of 95 percent copper and 5 percent tin and zinc (with the exception of 1943, when pennies were made of zinc-coated steel to conserve copper so it could be used in the war effort). In 1962, the tin content was removed from the alloy, making penny composition 95 percent copper and 5 percent zinc. In 1982, the Mint transitioned the cent composition to 97.5 percent zinc and 2.5 percent copper (copper-plated zinc). The post-1982 cents have a zinc core, which will show up after rolling the coin; and with time the zinc will turn black, and it greatly diminishes the look (and value) of the elongated coin.

Most elongated cent collectors also agree it’s best to use clean or even polished pennies for rolling.

Appealing to families because elongated coins make for affordable souvenirs, there is no limit to the variety of pressed pennies that are available. While it’s not guaranteed newly rolled pennies will ever be of significant monetary value, there are several things that are guaranteed:

– The The pursuit of rolled cents is as affordable as collecting gets.

– Collectors will never run out of elongated coins to chase.

– A penny is just a penny, but when it’s elongated, it becomes a valued memento.

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By KAREN KNAPSTEIN

Sources: https://www.money.org/blog/the-start-of-a-new-collectible; Penny Collector, www.pennycollector.com; elongatedcoins.org; The Elongated Collectors, www.tecnews.org; ParkPennies.com; www.elongatedcoin.com

Our thanks to Antique Trader for sharing this article. Click to visit Antique Trader online.

Looking for Spectacular Spectacles

From Benjamin Franklin’s spectacles to Jacqueline Kennedy Onassis’s sunglasses, eyewear plays an important role in our perceptions of history and culture. While the first eyewear emerged in the 13th century Italy, it didn’t mesh with fashion until much later. In 1730, an English optician developed a pair of glasses with two attached rods that rested on the wearer’s ears. From that point, corrective lenses became wearable accessories.

Full-Vue rimless eyeglasses, circa 1940s. Courtesy of Tom Valenza, Historic EyeWear Company

Through the 18th and early 19th centuries, eyeglasses were known as spectacles to differentiate them from single-lens monocles and pince-nez, which rested on the nose but did not connect to the wearer’s ears. Spectacles during this time were commonly rimmed with wire, tortoise shell or horn, and lenses tended to be small and round. Early bifocals featured one lens for far-sightedness and the other for near-sightedness. Their invention has been credited to Benjamin Franklin, but while he was certainly an early adopter of bifocals, he never overtly claimed to be their creator.

Until the late 19th century, spectacle style had much to do with variations in bridge and lens shape. Most spectacles had a gently curved bridge, a “crank” bridge with a sharp curve in the center, or an “x” bridge (two wires joined at the middle). Just prior to the Civil War, American companies began to mass-produce spectacles, greatly reducing their cost and making vision correction more readily available to consumers. By the 1870s, manufacturers were producing a wider range of eyeglass styles.

The collectors’ market for antique eyewear is small but growing, says Thomas Valenza, retired optician and owner of Historic EyeWear Co. [www.historiceyewearcompany.com]. Valenza’s interest in the history of his profession led to an interest in collecting antique and vintage eyewear, and then to starting a historic eyewear reproduction business.

Driving glasses with perforated metal side shields, circa 1910. Courtesy of Tom Valenza, Historic EyeWear Company

“My wife and I began going to historic reenactments and noticed that the glasses they wore were often historically inaccurate,” Valenza says. “We thought there might be a niche market.” There was, and pieces from the Historic EyeWear Co. have since become popular with reenactors and have appeared in period movies, television programs, and Broadway productions such as “Hamilton.”

Original antique spectacles are difficult to wear today, even without lenses. “Most pre-20th century frame styles are too small for modern faces and modern lens edging equipment, so reuse is very limited,” Valenza says. “Our reproduction styles have been increased in size to accommodate these modern requirements. Original pieces are very collectible and the market for them is driven primarily by collectors, actors, reenactors, historians and antique dealers.”

Collector Terry Marshall owns an array of curious spectacles, including eyeball massage and electromagnetic glasses associated with quack medicine.

“Early glasses often have telescoping sliders and loops that connect to a wearer’s wig,” says Marshall. “The market for collectors is pretty soft right now. You can get some decent sliders for around $20.”

Gold, round-framed spectacles from the 1970s. Courtesy of Tom Valenza, Historic EyeWear Company

Once mass production began in the late 19th century, the market for eyeglasses began to expand. Over the next several decades, glasses became fashionable accessories, available in many sizes, shape and colors.

With the advent of popular film in the early 20th century, stars began to set the standard for eyewear. Harold Lloyd’s round tortoiseshell spectacles were all the rage for a time, and in the 1930s, newly invented sunglasses hit the market.

Adjustable nose pads, introduced in the 1920s, gave designers additional creative liberty. By the 1940s, consumers could find eyeglasses with larger lenses and a variety of frame widths. Aviator-style glasses also appeared during World War II, and their popularity continues today.

Cat’s-eye glasses (so called because of the pointed top edges of the frames) rose to popularity in the 1950s and 1960s and became a coveted fashion item for women of the era.

Cat’s-eye glasses introduced color and flair into what was once a fairly unvaried market. Courtesy of Tom Valenza, Historic EyeWear Co.

“When cat-eye glasses originally came out, they introduced color and flair into what was a pretty boring market of eyeglasses,” says Levi, owner of the Vintage Optical Shop. “Before that, frames were generally gold, silver or tortoise shell, but cat-eye glasses came in all shapes and colors.”

The Vintage Optical Shop specializes in finding and restoring high-quality vintage frames and making them available to customers via its website, vintageopticalshop.com. Levi has noticed an increased demand for vintage cat-eye glasses.

“Many women are into vintage and pinup culture, and it adds a unique touch to their otherwise modern style,” he says. “There are many new brands making reproduction frames in the cat-eye shape, but people often prefer genuine vintage frames because they’re looking for something authentic and unique – something they won’t see anyone else wearing.”

Which brands are most sought after? “Collectors continue to look at the really exclusive pieces from brands like Cazal, Persol, Silhouette, Mikli and Oliver Goldsmith, to name just a few,” says Clodagh Norton, co-founder of Eyestylist.com.

Norton notes that celebrity connection is important, too. “In the vintage market, people do look to the celebrities of the past and what they were wearing. The real classics will always resonate with consumers who are fascinated by original handmade designs, and iconic pieces that were worn by film stars like Audrey Hepburn and Cary Grant.”

Consumers have been interested in vintage frames for decades, but Norton says the rare, expensive pieces are becoming status symbols.

American Aviator glasses, 1958. Courtesy of Tom Valenza, Historic EyeWear Company

“The really iconic frames from the 1940s, ’50s and ’60s are increasingly difficult to find and are, after all, a little piece of history,” she says. “Once you have a pair of these in your hand, you can appreciate the craftsmanship, stunning materials, and creative ideas immediately.”

Another current trend is for 1990s style frames inspired by Keanu Reeves’s character in The Matrix.

“This trend for rimless, smaller designs will impact what’s selling in terms of vintage,” Norton says. “But eyewear trends are changing all the time.”

Valenza agrees. “There’s only so much that can be done with eyeglasses designs, so what most of these designers and manufacturers do is go back to the originals and modernize or update them,” he says. “Every past style will come back—it’s only a matter of time.”

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By JESSICA LEIGH BROWN

Sources:
https://www.zennioptical.com/blog/history-eyeglasses/;
https://www.historiceyewearcompany.com/files/HOYFrevisedMcBrayer.pdf;
http://www.antiquespectacles.com/guide/guide_to_assist.htm

Author: Jessica Leigh Brown is a freelance writer based in Clinton, Tenn. Her work has appeared in a number of regional and national publications, including Tennessee Archways, Flea Market Décor, Tennessee Home & Farm, and Tourist Attractions & Parks. Find her on the web at www.jessicaleighbrown.com.

Our thanks to Antique Trader for sharing this article. Click to visit Antique Trader online.

Baltic Amber Jewelry: more than meets the eye

It has often been said that beauty is in the eye of the beholder. In the case of Baltic amber, humans have admired and appreciated it since the early Stone Age, also known as the Paleolithic Period. That’s millions of years of beauty for millions of people to behold. Cultures and societies may have arisen and changed dramatically since cave man days, but the composition of Baltic amber and peoples’ fascination with it hasn’t.

This hand-carved translucent honey-colored Baltic amber piece contains various insects, including flies, spiders, ants, and a beetle. It is paired with an antique sterling silver chain to form a unique pendant. Image courtesy Jasper52

“The interest in the Baltic amber is growing everyday,” said Kazimieras Mizgiris, co-founder (with his wife Virginija) of a pair of museums focused on amber, including the Art Center of Baltic Amber, located in Vilinius, Lithuania. “Baltic amber has always been attractive to people. It was only 5,000 years ago that people used to work in the Baltic Sea for the production of amulets. Amber is warm, spreading good energy, and it glistens in the sun, Mizgiris said.

In the simplest terms, Baltic amber is resin from pine trees that has fossilized. It is not just any pine tree that produces this resin; it is specific to pines that grow in Northern Europe and regions surrounding the Baltic Sea. This particular resin contains more than 40 different compounds, most specifically, succinic acid. According to information on Mizgiris’ website, http://www.ambergallery.lt/, these naturally occurring acids possess attributes that may heal various forms of discomfort, such as wounds and cuts, tooth pain, headaches, and general inflammation within the body.

12 stones of honey-colored Baltic amber form this bracelet, which weighs 27 grams. Image courtesy Five Star Auctions & Appraisals.

Many believe that simply wearing objects that contain Baltic amber may benefit the wearer. Various sources report that when Baltic amber necklaces are worn, their stones or beads are warmed by body heat and release small amounts of succinic acid when warmed by body heat.

Amber and Aromatherapy: According to various sources including The Poland Import Export Chamber of Commerce site, Baltic amber played a role in limiting the death toll from the plague during the Middle Ages. When it was discovered that those who worked with Baltic amber on a regular basis did not fall victim to the disease, it was used to fumigate residences and businesses.

Vintage gold and Baltic amber ring. Image courtesy John Nicholson Auctioneers

With the longstanding connection between Baltic amber and wellness practices, it’s not surprising that evidence of amber jewelry has been discovered among ancient remnants in the advanced civilizations of ancient Greece and Rome, as well as the Baltic region. While the most common color of amber, as one might expect, is its namesake shade of yellow or white yellow, it’s not the only shade seen in amber. In fact, amber comes in seven colors and more than 250 shades.

Amber Fact: Annually for the past 25 years, thousands of people from around the world have gathered in Amberif Gdańsk, Poland, to discuss and display their shared interest in Baltic amber at a trade shown known as AMBERIF. The acronym stands for Amber International Fair.

Art Deco Baltic amber jewelry box made of wood and featuring tiles of natural butterscotch-color Baltic amber on top and honey-colored amber slabs along the sides. Its metal plaque indicates a manufacturer located in Königsberg, Prussia made it. Image courtesy Jasper52.

The opportunity to view an extensive selection of Baltic amber is not limited to those in attendance at AMBERIF. In Lithuania, a hub of Baltic amber history and processing, there are multiple museums devoted to the fossilized tree resin. The Amber Gallery-Museum is located in Nida, Lithuania, while the Amber Museum-Gallery is located within the Art Center of Baltic Amber, in Vilinius, Lithuania. The Mizgiris’ opened the museum in Nida in 1991, while the museum in Vilinius opened its doors in 1998. The Art Center of Baltic Amber opened seven years later. Every year, according to Mizgiris, each of the locations welcomes more than 50,000 visitors. In addition to presenting a variety of displays of Baltic amber, the museums and the center present educational activities and demonstrations of amber processing.

This set of three Baltic amber bead bracelets, yellow/white in color, weights 28.3 grams. Image courtesy Jasper52

Interest in Baltic amber, including natural specimens and pieces incorporated into jewelry or decorative art, is drawing attention worldwide. Whether the interest is scientific in nature, an aspect of collecting, or appreciation for and interest in jewelry and jewelry making, Baltic amber continues to tell its story, while also providing opportunities for more people to incorporate this unique form of nature’s artistry into their lives.

Imari: Japan’s original porcelain masterpiece

NEW YORK – Imari ware is a broad term for the first porcelain ever produced in Japan. Its development was made possible by the discovery of exceptionally fine kaolin in 1616, early in the Edo period. It is also known as Arita ware, named for the town where it was made, which was a traditional ceramics center on the island of Kyushu.

Initially, Imari utilitarian tea bowls, rice bowls and dinner plates featured simple, hand-painted, Korean-style cobalt blue designs against white grounds. This thickly potted, thinly glazed, grainy quality dinnerware was expensive and generally used by Japan’s privileged classes.

Massive Japanese Imari porcelain punch bowl, 18th/19th century, 18¼in diameter. Image courtesy of I.M. Chait Gallery and LiveAuctioneers

Innovative, multicolor Imari ware, created by painting bright enamel over their glazes, appeared in the 1630s. Vivid overglaze fauna, floral and figural motifs, executed in green, yellow, red, black and underglaze blue, adorned useful items like bottle vases, saki flasks, mugs, bowls and pots. Thereafter, Imari porcelain featured elaborate, colorful designs.

When political turmoil halted the production and export of Chinese porcelain in the 1650s, international demand for Far Eastern decorative items prompted the Dutch East India Company to ship Japanese Imari ware instead.

Though production of simply styled blue and white Imari cups, plates and bowls continued as before, many of Japan’s export wares, through form, decoration and style, were tailored to appeal specifically to European tastes. In fact, Dutch artists often provided Imari potters with prototype figural designs. Examples include colorful Japanese courtesans, naturalistic hunting dogs and cheery scenes of drunken Dutchmen astride spirit kegs. Few of these prized “Old Imaris,” which were produced before 1750, reach today’s market. Those that do are generally costly.

Large pair of 18th-century Japanese Imari (Edo Period) porcelain figures, 17.5 and 17in high, respectively. Image courtesy of John Nicholson Auctioneers and LiveAuctioneers

By about 1680, simple Imari designs featuring crisp, red, blue and green images of dramatically styled birds and floral scenes against milky white grounds had morphed into designs that were not only brighter and asymmetrical, but also more complex. Their shapes – square, octagonal or hexagonal plates and bottles, and fluted bowls, dishes and vases with lobed edges – were often sophisticated, as well.

From around 1700, high-quality, delicate Imari ware from the Kakiemon kiln dominated both the domestic and export market. Their overglazed, enameled motifs, which include geometrics as well as favorites like cranes, courting birds, flowering plums, pines, peonies, bamboo, cherry blossoms and floral scrolling, are derived from the classical Japanese style of painting. Created in various shades of blue, iron red, yellow, black and eggplant purple enamel, some also incorporated gold in their designs.

During this period, overglazed pieces produced at the Nabeshima kiln, which feature sparsely arranged but sophisticated motifs derived from traditional Japanese fabrics, dominated the market as well. In fact, porcelains produced at both these kilns, which were created expressly for use by feudal lords, shogunal families and members of the ruling classes, are considered to be among the finest Japanese porcelain ever produced. They also dominated the European market through the mid-1750s, when matching sets often adorned shelves and mantelpieces of the aristocracy.

Rare 19th-century Imperial Japanese Imari porcelain vase, melon-shape design, 19in high. Image courtesy of Kaminski Auctions and LiveAuctioneers

These refined, unusually high-quality Kakiemon and Nabeshima Imari pieces are the rarest and most expensive of all at auction today. Yet many Western collectors tend to overlook their simple but elegant designs, which are characterized by soft colors, smooth surfaces and natural motifs. Japanese and Westerners with a strong sense for the Japanese aesthetic, however, are always in pursuit of these exceptional items. One of their highly desirable plates can easily reach into five figures.

Japanese exports declined considerably in the mid-18th century when China began flooding the European market with similar yet far less expensive pieces known as Chinese Imari. In addition, because the Imari style had become so popular, enterprising European kilns, such as Meissen, Royal Crown Derby, Chantilly and Worcester, also produced Imari-inspired designs. Over time, the term Imari came to mean any densely decorated, gilded porcelain that featured Oriental-style motifs in vivid shades of gold, green, red and underglaze blue.

Exceptional palace-size Japanese Imari porcelain charger, 26in in diameter, on ebonized stand. Image courtesy of J. Garrett Auctioneers and LiveAuctioneers

Exports of authentic Japanese Imari rose once more during the late 19th-century Meiji era, when Japonism, a fascination with all things Japanese, was influencing Europe’s art and design landscape.

“Though many matching or oversized, richly appointed pieces of this era, which were produced solely for decoration, are of lesser quality than previous creations, they are currently in high demand when well executed,” said Matthew Baer, a dealer at www.ivorytowerantiques.com. “A really nice Meiji Period Imari vase in the 12-to-16-inch size range can retail anywhere from $1,000 to $5,000 in today’s market,” he added.

“Currently, collectors consider Imari ware produced by the Koransha/Fukagawa kiln during the late 19th and early 20th centuries the most desirable by far,” Baer continued. Most of their productions tend to exhibit bold, dense, precise, well-executed artwork that features stylized motifs such as koi, irises, chrysanthemums or bamboo.

These may seem most familiar to collectors because they are often displayed in homes and featured in decorating magazines. Yet their prices vary immensely. A well-decorated 19th-century Koransha plate of good to excellent quality, for example, will generally run between $150 and $600. In recent years, however, medium and lesser quality pieces have seen a decline in value.

Nineteenth-century Japanese Imari (Meiji Period) porcelain floor vase, 37in high. Image courtesy of Soulis Auctions and LiveAuctioneers

Moreover, though a wide range of high-quality, traditional Imari ware is available in a variety of styles, most enthusiasts are seeking pieces with fine and/or unusual designs and forms. So, unless something is of exceptional quality, it is often passed over.

“A beginning collector on a limited budget might consider seeking 19th-century, traditional three-tone platters, vases, serving bowls or charger plates,” Baer said. Many of these are currently found for under $1,000 each. Alternatively, they might prefer seeking more interesting or unusual items, like a small 19th-century incense burner, covered rice bowl, figurine or tea caddy. These are also found at reasonable prices.

One of the joys in collecting Imari is that there really is something available in every price range. Examples of this ancient art form are currently within reach of just about everyone.

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By MELODY AMSEL-ARIELI.

Our thanks to Antique Trader for sharing this article. Click to visit Antique Trader online.

Eccentric Potter George Ohr

Even in the progressive heyday of the American art pottery movement at the turn of the 20th century, the works of Mississippi potter George E. Ohr (1857-1918) were considered avant-garde.

His sculptural handmade pottery – he claimed no two were alike – resembled nothing turned out by his contemporaries. His bohemian behavior and unusual appearance, recorded in a series of mischievous period photographs, earned him the title of “The Mad Potter of Biloxi.”

Petticoat Vase, c. 1899, glazed ceramic, 7¾ in. x 4¾ in. Collection of the Ohr-O’Keefe Museum of Art. Gift of David Whitney in honor of Frank and Berta Gehry.

Eugene Hecht, authority on the potter and a professor of physics, wrote, “Ohr was an incomparable technician, an uncanny colorist, an exquisitely sensual soul, a totally committed, egocentric, eccentric, vulnerable genius who created a body of artistic work that rivals any produced in this country.”

Like many other artists, Ohr’s work was not fully appreciated in his own time. Thousands of unsold pieces remained in storage on family property after his death. The entire collection was purchased by an East Coast dealer in 1972, and only then did the highly manipulated vases and vessels find enthusiastic appreciation and an avid market among art collectors.

Pitcher, c. 1898, glazed ceramic, 5½ in. x 5½ in. Collection of the Ohr-O’Keefe Museum of Art. Gift of the estate of Hollis C. Thompson Jr., in memory of Evelyn Desporte Thompson, Nickie O’Keefe, Tine Lancaster and Annette O’Keefe.

Ohr learned to make pottery as an apprentice to Joseph Meyer and then traveled around the East and Midwest to view the works of other craftsmen. He set up his own pottery in his hometown of Biloxi in 1883 and took a first batch of work to a World’s Fair in nearby New Orleans the following year.

A turning point in his career was a major fire in the town that destroyed his pottery and 10 years’ worth of work in 1894. Ohr quickly rebuilt and the ceramics so admired by collectors today were made between 1895 and around 1907. As the Biloxi Art Pottery, he showed his wares in the Mississippi State Exhibition at the Louisiana Purchase International Exposition of 1904 (St. Louis World’s Fair). The judges awarded him a Silver Medal, but the designs remained too extreme for consumers and nothing in the display was sold.

Vase with in-body twist, c. 1900, glazed ceramic, 6 in. x 3¾ in. Collection of the Ohr-O’Keefe Museum of Art.

A comparison of George Ohr’s work with contemporary ceramics made by well-known art potteries such as Rookwood or Grueby reveals the stylistic risks taken by the Biloxi potter. Although in hopes of a sale, he made traditional forms such a vases, pitchers and teapots, his creative mind transformed these familiar shapes. Vases have eccentric looped handles and glazes in shocking reds and greens. Pitchers are crumpled and deformed.

After exploring the infinite possibilities of colored glazes, he later made unglazed works – sometimes in mottled clay – where all the artistry was in the shape. Each work captures a moment of inspiration.

Red and green vase with handles, c. 1898, glazed ceramic, 7¾ in. x 5¼ in. Collection of the Ohr-O’Keefe Museum of Art. Gift of Susan and Roland Samson.

Auction house owner David Rago has written extensively about Ohr’s work, emphasizing “his forms, thrown paper thin and manipulated with twists, crinkles, dimples and folds. Few people could have crafted pots so thin, and no one else thought to alter them in such bizarre ways.”

Double-handled vase, c. 1898, glazed ceramic, 7 3/4in x 5 1/4in. Collection of the Ohr-O’Keefe Museum of Art. Gift of the estate of Hollis C. Thompson Jr., in memory of Evelyn Desporte Thompson, Nickie O’Keefe, Tine Lancaster and Annette O’Keefe.

Rago says of the market, “The most expensive of Ohr’s pots, and the most desirable to collectors, are those that combine bright, imaginative colors with intense manipulation of form.” The best of George Ohr’s ceramics command prices in the five- to six-figure range.

For more biographical information and images of the potter’s work, the classic reference remains The Mad Potter of Biloxi: The Art & Life of George E. Ohr by Garth Clark, Robert A. Ellison Jr. and Eugene Hecht (Abbeville).

Mongolian Art – Origins Etched in Stone

In Mongolia, located in East Central Asia and bordered by Russia to the north and China to the south, rock formations yield evidence of artistic expression and communication in the form of petroglyphs dating back to ancient times.

Such early examples of stone drawings and carvings discovered in the mountains of western Mongolia are reflections of what once were everyday experiences of indigenous people. These examples of artistic carvings, according to archeological researchers, date back to the Upper Paleolithic period (40,000 to 1,200 B.C.). Some of the most common motifs include hunting scenes with bears and deer; and Mongolian people depicted as hunters and gatherers, or during celebrations and acts of meditation.

Late 19th-century wool-on-cotton mat, made in Mongolia, 4 ft. x 2 ft. Image courtesy Jasper52

In addition to drawings and carvings on stone and caves, Mongolian artists have been known over the centuries for their creation of silver immortality vases, paintings on burlap and burlwood; woven rugs, and figures made of clay, copper, and bronze.

As time passed, Mongolian art continued to be shaped by the cultural influences of nomadic tribes and new settlers. The topography of the country influenced the scenery appearing in Mongolian art, such as mountains, deserts, forests, and upland mesas of the landlocked region. As the nomadic tribes traversed the country, aspects of their art went with them in the form of items called tsa-tsa and gau, which are portable shrines made of wood, clay, copper, and at times, silver. Meanwhile, the people from beyond Mongolia’s borders who established homesteads and worked and hunted on the same piece of land for a lifetime also were known to use silver, bronze, and gold in creating their artworks.

Chinese/Mongolian silver elephants inlaid with lapis lazuli and turquoise beads, circa late 19th- to early 20th century. Image courtesy Dallas Auction Gallery

Mongolian art is strongly influenced by religion and other beliefs, such as Buddhism, Shamanism, Islam, and Nestorianism. Be it statutes, paintings, jewelry, or textiles, over the centuries artists of this region incorporated deities and divinities into their creations. Although many Mongolian beliefs are shared by peoples in bordering nations, there are elements reflected in Asian artworks that are distinctly indicative of the location and tribe or people responsible for their creation, explains Terese Tse Bartholomew, in an article on asianart.com.

“The ornamentation, the shape of the lotus petals on the pedestal, and the way in which the base plate is inserted and held in place often give clues as to the country of origin,” writes Bartholomew. “Even within Mongolia, there were variations between the works produced in Inner Mongolia and Outer Mongolia. The sculptures of Zanabazar illustrate these differences.”

17th-century gilt bronze of Mongolian Bhais Aijyaguru, with inscription. Image courtesy of Golden State Auction Gallery Inc.

The Zanabazar of whom Bartholomew speaks is the revered Mongolian sculptor and artist Bogdo Gegen Zanabazar, who lived and created between the mid-17th and early 18th centuries. He became the first Jebtsundamba Khutuktu, or the spiritual leader of Tibetan Buddhism in Mongolia, and the top-ranked lama in Mongolia. His work and leadership led to the development of the Zanabazar School of Sculpture of Outer Mongolia.

Within Mongolian artistry, motifs have specific meaning and symbolism. According to Bartholomew’s writings, there are five types of Mongolian artistic motifs:

  • Geometric: Eternity pattern, “happiness” knot, khan’s bracelet, ribbon
  • Zoomorphic: Friendly animals (elephant, monkey, hare, and dove), strong animals (lion, tiger, dragon, and a mythical bird Garuda), Asian zodiac animals (rat, ox, tiger, hare, dragon, snake, horse, ram, monkey, rooster, dog, and boar), a circle comprised of two fish – symbolizing yin and yang; and horn-like and noselike figures
  • Botanical: Lotus, peony, and peaches, which represent purity, prosperity, and longevity, respectively
  • Shapes of natural elements: Water, fire, and air
  • Symbols: Traditional symbolism of Tibetan and Chinese cultures including: the Eight Auspicious Symbols, Seven Jewels of the Monarch, and the Three Jewels

Antique miniature Mongolian thangka art, 2⅜ in. x 2½ in. Image courtesy Jasper52.

Mongolia’s most noteworthy artists of the 20th century are O. Tsevegjav, U. Yadamsuren, N. Tsultem and G. Odon, L. Gavaa, S. Choimbol, A. Senghetsokhio, B. Avarzed, Ts. Mijuur, Ya. Urjnee, S. Dondog, and D. Munkhuu.

Following a departure from communism and peaceful revolution in 1990, Mongolia adopted a democratic form of government. It is largely dependent on trade with neighboring China and Russia, its main industries being agriculture and mining. Mongolia also promotes tourism and capitalizes on the unique beauty of Mongolian art, both traditional and contemporary. With nearly three million people now living and working in Mongolia, and hundreds of thousands more visiting the country each year, art plays an increasingly important role in the present and future success of this intriguing Asian nation.

Storytelling Through Quilts

Quilting and storytelling go hand in hand, or perhaps it’s more like stitch by stitch. Whatever the illustration, the fact remains that for as long as people have been quilting, they’ve been infusing bits of themselves and their experiences into their creations.

Sometimes the infusion of first-person stories or family lore is strikingly apparent from the image or scene serving as the central focus of the quilt. In other examples the message may be more subtle but just as integral to the quilt’s overall tale. It could be the pattern, the material or type of stitch used that conveys a special meaning.

Lone Star quilt, 1900, Berks County, Pennsylvania, featured in an exhibition at the Guggenheim Museum, sold for $3,318 at auction. Photo courtesy Pook & Pook Inc.

The beauty of storytelling through quilting is that every piece and stitch matter, and every quilt is indeed a sum of its parts, not unlike life itself. Each person’s life is a collection of stories based on the experiences and emotions shaping the journey. It’s those stories that also speak to collectors of these textiles that “talk.”

Marla Jackson, founder of the African American Quilt Museum and Textile Academy in Lawrence, Kansas, refers to quilts as examples of visual literacy.

“I believe that when our ancestors or we make quilts, they speak for us. It’s a language and a form of communication,” said Jackson, who began quilting in the late 1990s and opened the museum in 2012.

“Ms. Marla” as she’s known, uses quilts and their stories to educate and inspire youth living in northeast Kansas. Through her “Beyond the Book” program, she strives to impart details and understanding of the African American heritage from the time of slavery through the Civil War era, the Civil Rights movement and to the present. The group has turned to quilts to survey the history of the African American community in their region of the Sunflower State.

Baltimore album quilt, mid-19th century, 25 applique and trapunto squares depicting images including the U.S. Capitol, an American sailing ship, and monument with flags. Auction price: $28,440. Photo courtesy Pook & Pook Inc.

Among the historical accounts Jackson and the children have explored by studying and making quilts is that of Maria Rodgers Martin. Martin was among the slaves abducted by Union troops during a raid of the Tennessee home where she worked. She was taken to Lawrence, Kansas, where she worked as a servant for Senator James Lane. It’s believed she created a variety of quilts during the Civil War years while living in Lawrence. One of the most notable is a Feathered Star pattern quilt, which was assessed by the authors of the book Stories in Stitches as being “a stunning example of fine workmanship and quality. Today the Feathered Star is considered an advanced pattern [and the example believed to have been done by Martin] done with flawless execution.”

As part of their research of Martin, Jackson and the students worked together in 2014 to create a quilt that told her story through textile. Jackson took the same approach to create narrative quilts that profiled people who endured discrimination in the 1930s. The quilts in this series feature iconic singers and musicians including Billie Holiday, Nina Simone, Louis Armstrong and Ma Rainey, among others.

Modern narrative profile quilt of musician Ma Rainey, created by celebrated quilter and historian Marla Jackson, founder of the African American Quilt Museum and Textile Academy and the National African American Quilt Conference. Photo courtesy of Marla Jackson

For Jackson, whose quilt art has appeared in more than 40 venues across the country – including the Smithsonian’s National Museum of African American History and Culture, and the American Folk Art Museum – all of this is about fulfilling her calling.

“It feels like I’m doing what I was born to do,” she said. “I’m sharing the stories told by centuries of people by helping others ‘hear’ the quilts…”

Echoing Jackson’s sentiments about quilts of the past and present is Laura Hendrickson, registrar at the National Quilt Museum in Paducah, Kentucky, where contemporary quilts are showcased, quilting is taught, and its tradition, celebrated.

Contemporary quilt titled “… and Our Flag Was Still There,” from the National Quilt Museum collection. Melinda Bula designed and quilted it after her son joined the Marine Corps. Photo courtesy of the National Quilt Museum

“I think it would be important to consider that quilts and other forms of textile art, which historically have fallen under the category of women’s work, provided a type of voice for people who might not have otherwise had ways to express themselves,” Hendrickson said. “Although we have the choice to speak out today in many ways, quilts, just like any other art form, can be a powerful form of personal expression. I’m not a quilt historian, but my impression would be that while many older quilts ‘spoke’ through symbolism and visual metaphor, today’s quilts are more blunt, even using text in the piecing and appliqué.”

An example of how storytelling and collecting intersect is Stuart Ansell’s 1934 Tiger Pennant Baseball quilt. It sold for $16,000 at a January 2018 Pook & Pook auction.

According to archival information at quiltindex.org, the story of Ansell’s quilt appeared in The Detroit News in 1935. As the story goes, Ansell showed up with a quilt he designed and quilted. The Detroit police officer was a life-long quilter and diehard baseball fan. He had reached out to each player on the 1934 Detroit Tigers team, as well as the groundskeeper and the team’s trainer, to obtain their signatures for inclusion on the quilt. Each embroidered name appears on tan baseballs pictured throughout the body of the quilt. In addition, he embroidered the names of each team in the American League as well as the Tigers’ record, onto the quilt. Also appearing on the quilt are four images of Bengal tiger heads, the team’s trademark Old English ‘D’ and a miniature baseball diamond at the center.

One-of-a-kind 1934 Tigers Pennant Baseball quilt, auctioned for $16,000 in January 2018. Photo courtesy Pook & Pook Inc.

This quilt reflects the story of one man’s appreciation for the game of baseball and his hometown team that took the American League pennant before falling to the St. Louis Cardinals during the 1934 World Series.

Although it’s been more than 80 years since Ansell created the storied Tigers quilt, the history and practice of quilts designed and made by men is more extensive than one might believe.

The appreciation for contemporary quilts like those displayed at the African American Quilt Museum and the National Quilt Museum is why modern quilts have little difficulty being categorized as future collectibles.

“For me personally, I am often struck by the anonymity of so many of the antique or vintage quilts I see. I want to know who made them, and why,” Laura Hendrickson said. “On the other side of that, my work here at the museum ensures that some of the world’s quilts will be cared for and remembered long into the future.”