Antique Trader Antiques & Collectibles 2012 Price Guide

818 Pages·2011·76.18 MB·English

by  Eric Bradley

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PRICE GUIDE • 28th Edition
Inside you will enjoy a variety of
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new collecting areas, as well as old
favorites. Including: EI
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Asian Cookie Jars Kitchenware C
Bottles Figurines Perfume Bottles
Ceramics Furniture Petroliana TU
Civil War Glass Toys
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Clocks Hallmark Ornaments Vintage Clothing
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Comic Books Illustration Art Zippo Lighters
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Also inside you’ll discover Top Lots, a new feature highlighting the bestselling &
results from auction houses nationwide. E
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About the Editor
Eric Bradley is the editor of Antique Trader magazine, AntiqueTrader.com and
2012
the Antique Trader Blog. In addition to writing hundreds of articles on antiques,
collecting and the trade, Bradley served as producer of the Atlantique City
PRICE GUIDE
Antiques Show and is a lifelong student of antiques. Possessing a passion for
country auctions and outdoor shows, Bradley is an avid American art pottery, Over 4,500
WWII homefront collectibles and folk art enthusiast.
Color Photos
US $21.99
X9645 (CAN $22.99) Bradley
ISBN-13: 978-1-4402-1695-4
ISBN-10: 1-4402-1695-9
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Antique Trader®
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NTIQUES
COLLECTIBLES
2012
PRICE GUIDE • 28th Edition
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Copyright ©2011 F+W Media, Inc.
All rights reserved. No portion of this publication may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopy, recording,
or any information storage and retrieval system, without permission in writing from
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To order books or other products call toll-free 1-800-258-0929
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ISSN: 1536-2884
ISBN-13: 978-1-4402-1695-4
ISBN-10: 1-4402-1695-9
Cover Design by Heidi Zastrow
Designed by Marilyn McGrane
Edited by Eric Bradley
Printed in the United States of America
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More Great Books in the
Antique Trader Series
Antique Trader Book Collector’s Price Guide
Antique Trader Bottles Identifi cation & Price Guide
Antique Trader Collectible Cookbooks Price Guide
Antique Trader Collectible Paperback Price Guide
Antique Trader Furniture Price Guide
Antique Trader Indian Arrowheads Price Guide
Antique Trader Jewelry Price Guide
Antique Trader Kitchen Collectibles Price Guide
Antique Trader Perfume Bottles Price Guide
Antique Trader Pottery & Porcelain Ceramics Price Guide
Antique Trader Salt and Pepper Shaker Price Guide
Antique Trader Tools Price Guide
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Table of Contents
Introduction ......................................5 All That Glitters is Great Jewelry .....14
The Art of Evaluating Collectible Art ..7 List of Contributors ........................806
Furniture Styles and Designs ............9 Index ............................................813
■ ■
Listings
Advertising Items .............................17 Glass ............................................427
Asian ..............................................20 Hallmark Keepsake Ornaments .......568
Banks .............................................29 Illustration Art ...............................577
Barbie ............................................31 Indian Artifacts (North American) ....590
Baseball Memorabilia .......................35 Ivory .............................................608
Baskets ..........................................44 Jewelry .........................................609
Bells ..............................................46 Kitchenwares ................................643
Bookends ........................................48 Lighting Devices ............................661
Bottles............................................50 Little Golden Books .......................671
Ceramics ........................................65 Lunch Boxes .................................692
Civil War Collectibles .....................267 Perfume Bottles ............................700
Clocks ..........................................293 Petroliana .....................................723
Coca-Cola Collectibles ....................309 Posters .........................................737
Comics .........................................319 Records - 45 and LP ......................741
Cookie Jars ...................................335 Scientifi c Instruments ....................747
Currier & Ives Prints .......................352 Silver............................................749
Decoys..........................................358 Toys .............................................762
Disney Collectibles ........................361 Vintage Clothing ............................772
Drugstore & Pharmacy Items ...........366 Watches ........................................781
Figurines ......................................368 World War II Collectibles ................784
Furniture ......................................392 Zippo Lighters ...............................791
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Introduction 5
Introduction
By Eric Bradley
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It’s a confusing time in the antiques market. After emerging
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from the recessions of 2000-2001 and 2007-2010, buyers R
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and sellers fi nd themselves on an alien landscape. D
Longtime antiques shows have vanished; the size of such U
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events now favoring quality rather than quantity. Auctions T
dominate the sales landscape. “Antiques Roadshow” now IO
has competition, and the audience for programs about N
antiques and collectibles rival those of late night talk shows.
The average age of collectibles sellers on trendy vintage
websites is 34, folks who are noticeably absent from shows
and traditional auctions.
This is defi nitely not your father’s hobby anymore.
The 28th edition of the Antique Trader Antiques &
Collectibles Price Guide represents a new approach to our
hobby and the market. Not only will you fi nd thousands of Eric Bradley
entries across a fi eld of areas, you’ll also fi nd enhanced identifi cation methods and tips on
how you can excel at both buying and selling no matter your budget or passion.
In this edition, we’ve introduced new collecting areas as well as reliable favorites. Although
dollar values continue to rise for the best of the market, the volume of items moving on the
lower end is attracting new collectors every day. This demand for items and information is
creating new businesses. Here are a few observations on today’s market and what you can
expect for 2012:
BUYING TRENDS
The highfl ying Asian art and antiques “bubble” isn’t a bubble at all. It is the new norm. As
Asian countries rise to “catch up” with our standard of living, their disposable income will be
more assertively directed at collecting cultural art and antiques. Americans and Europeans
have enjoyed the escalation of wealth during the last 300 years, and now it’s Asians who
are consuming a larger segment of the market. Sure, prices may fl uctuate (perhaps even
decline in stressed periods), but auction houses and dealers are right to bank on a long term,
sustainable trend of an increase of demand in Asian art and antiques.
Vintage technology is gearing up for the long haul. Once relegated to a small segment
of the collecting public, vintage technology is hot, and young people are getting interested
in old typewriters, electric fans, microscopes, and oddities. The hobby supports several
collectors’ websites, a new book, and an international auction house. The appetite comes
from affl uent, accomplished tech industry workers as well as nostalgia buffs reminded of a
simpler, less-connected way of life. The fondness Baby Boomers shared for their fi rst bicycle
is akin to the fondness those ages 35 and younger share for their fi rst computer.
A NEW AUDIENCE
By the end of 2011, more than 16 new television shows involving the antiques and collectibles trade
were in production or in early planning stages. Production crews are eager to satisfy this so
far unexplored (or unexploited) segment of the reality television genre and you can expect
more to come. In mid-2011, Leslie and Leigh Keno announced the formation of their own
television show – the fi rst post-“Antiques Roadshow” members to strike out on their own
television endeavor. Dealers and auction houses yearned for this phenomenon as early as 2006
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6 Introduction
as a way to spark demand among younger buyers. Now’s the time to capitalize on the publicity
and enjoy the new faces fl ooding into shops, shows, yard sales, and storage locker auctions.
THINK OUTSIDE THE BOX
What we share at Antique Trader are universal lessons to improve the hobby of antiques no matter what
N region you live in or what method you use to buy and sell. They all boil down to one truism –
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the time for change is now. In order to take advantage of greater trends happening in our hobby,
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CT buyers and sellers must change how they meet. Take a look at some of the case examples:
U • A San Francisco dealer of trains and vintage American toys is using interesting and
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O innovative displays at a major airport to promote his business and his inventory.
R • Dealers are moving away from the bureaucracy and fees of online auction sites by
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N launching their own “digital storefronts” on their own websites. Breakthroughs from
I major Internet search engines are making it easier for a dealer’s well-written inventory
descriptions to be found.
• It’s time to free up capital currently held up in merchandise that’s not selling. Successful
dealers make friends with their local estate auction house (or set up at well-traffi cked
shows) to sell their “mistakes.” Now is a good time to admit that some purchases need to
be sold at cost to free up cash for items in better condition, which may be undervalued.
• Nothing replaces knowledge. Collectors must pursue up-to-the-minute pricing.
Websites sites such as LiveAuctioneers, Artfact, and Worthpoint.com all offer pricing
results from auctions every day. In most cases the resources are free or at a nominal
cost. Such as you cultivated a comprehensive reference library before the digital age, so
should you bookmark and subscribe to reliable reference information on the market.
This is an exciting, vibrant time in our hobby. Whether your passion is Old Master
paintings or yard sale treasures, opportunity abounds around every corner. Now is the time
to open your mind and eyes and fi nd the things you didn’t know you wanted.
A A T .
BOUT NTIQUE RADER COM
We think you’ll be impressed with the new layout, sections and information in this year’s
annual. Because the antiques world (like everything else) is constantly changing, I invite
you to visit AntiqueTrader.com and make it your main portal into the world of antiques.
Like our magazine, AntiqueTrader.com’s team of collectors, dealers and bloggers
share information daily on events, auctions, new discoveries and tips on how to buy more
for less. Here’s what’s offered everyday on AntiqueTrader.com.
• Free eNewsletters: Get a recap of the world of antiques sent to your inbox every week.
• Free Classifi ed Ads: Inventory (great and small) from around the world offered for
buy, sell or trade.
• Exclusive video featuring stars from all the shows you love: “Antiques Roadshow,”
“American Pickers,” “Pawn Stars,” “Cash & Cari,” “Storage Wars” and more!
• Experts’ Q&A on how to value and sell your collections online at the best prices.
• The Internet’s largest free antiques library: More than 10,000 articles of research,
show reports, auction results and more.
• Blogs on where to sell online, how to buy more for less, restoration, fakes and
reproductions, displaying your collections and how to fi nd hidden gems in your town!
• The largest online events calendar in the world of antiques with links to more than
1,000 shows worldwide.
ERIC BRADLEY is the editor of Antique Trader magazine, AntiqueTrader.com and the Antique Trader Blog. In addition
to writing hundreds of articles on antiques, collecting and the trade, he has been a producer of the Atlantique City
Antiques Show and a lifelong student of antiques. Bradley is often spotted haunting country auctions and outdoor
shows to feed his collection of American art pottery, World War II homefront collectibles and Midwest folk art.
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The Art of Evaluating Collectible Art 7
The Art of Evaluating
Collectible Art
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By Mary Manion T
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It was a snowy New Year’s Eve day, and the appraisers were D
making a house call. The client was a woman with a family U
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heirloom, a piece of cut and painted paper silhouette art from a T
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genre known by its German name, scherenschnitte. Her story O
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ran like this: Her mother brought the paper art to the United
States from Austria in the 1950s and had the piece appraised
many years ago by a Boston dealer, at a value of $16,000.
She fervently believed her story but, alas, the family lore
was obviously wrong. The piece, while nice work, had been
framed in the 1960s before archival materials were available.
The scherenschnitte had been glued down to a matt board,
and acid from the board migrated over the decades onto
Mary Manion
the artwork. The paper was pocked by breaks and foxing.
Moreover, it was impossible to fi nd auction records higher
than $2,000 for a comparable scherenschnitte in good condition. The client was indignant
when the appraisers determined its value was only $400.
Witness the growing problem in the art market of customer over-expectation, a trend
fanned by the popularity of “Antiques Roadshow,” aided by ill-informed amateur websites
and often abetted by family legends that just seem to sound better with each passing
generation.
In the current economic climate, people are re-evaluating their fi nances, taking inventory
of their personal property, and in some cases, downsizing the manor. The demand for
appraisals has multiplied exponentially and, like a kind of “cross your fi ngers” lottery logic,
people hope it’s the winning ticket to prosperity.
The problem is that unlike investing in gold, the value of art can be illusory. Also, the
authenticity of gold can easily be established. With art, what looks like the real thing can,
upon evaluation, turn into mere fool’s gold. And the appraiser is also faced with a disadvantage
not endured by dealers in gold. The value of precious metal is measured by the ounce and
determined by the world market. The value of artwork will always be more subjective.
“Antiques Roadshow,” the ever-popular appraisal
program on PBS, has become the bellwether for appraisal
events that have sprung up across the country in recent
years. Patterned after “Antiques Roadshow’s” presentation,
appraisal affairs feature qualifi ed appraisers from numerous
disciplines who are brought together for a day to assess and
provide a quick verbal value to whatever antique is put in
front of them. My experience as a fi ne art appraiser at these
events indicates all that glitters is not gold.
At a recent appraisal fair more than 1,800 advance ticket
sales were offered and sold out weeks before the date. I
was among a team of 38 appraisers who volunteered their
knowledge and time for a 10-hour event. In my line, the
Portrait of Rev. Gryllis of Helston majority of ticket holders had researched their artwork
Cornwall. beforehand on the Internet and told me what they
Copake Auction, 266 Route 7A, Copake,
NY 12516 believed to be the value of their work as I was examining
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8 The Art of Evaluating Collectible Art
their piece. Often, what they thought they
had was not quite what they actually had.
The most popular misconception is the
difference between original works of art and
their deceptive imitators: a reproduction, a
N copy or a “pretender” — a paper print on
O canvas, which can look like a painting to the
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T amateur but holds little value to its original
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U counterpart.
D Picasso reproductions are the frequent item
O “La Famile” 1976, by Orville Bulman.
R Concept Art Gallery, 1031 South Braddock Avenue, Pittsburgh, of disappointment brought in by people who
T PA 15218 gather their information randomly from the
N
I Internet. Two Picasso-hopefuls were brought to my table: one a faded reproduction from
the ’70s, and the other a rather cheap-looking image of a rooster that had been transferred
onto a plastic plaque with a wall hook attached on the back. I had a bit of a struggle trying
to set the record straight about its value. The client insisted that someone at a museum had
told him it was valuable. Maintaining levity at such moments is a vital part of the assignment.
Another common misunderstanding comes in determining value with an artwork that has
prospective worth. An oil painting, for example, may be less desirable if it is in poor condition,
has a questionable provenance or aesthetically is not good quality work, or the market for that
artist might be low. People seldom realize the parameters involved in the evaluation process.
A watercolor I encountered recently comes to mind as an example of a listed artist with a
strong sale history ($20,000 to $50,000 at Sotheby’s and Christie’s, among other houses)
but currently is generating no interest in consignment at auction houses. The local collector
acquired the well-rendered, mixed-media fl oral several years ago.
He researched the French artist, Andre Dunoyer de Segonzac (1884-1974), and
eventually had it authenticated by a specialist who determined the watercolor was in excellent
condition, well executed and consistent with other works by the same artist that sold around
$50,000 at auction. Several years had passed, and the client decided to place it at auction.
Contacting the appropriate specialist at several auction houses within a six-week period
culminated in the fi nding that currently, the artist’s work is of “little interest” in the
market. As these inquiries were being made, Christie’s, one of the houses contacted for the
consignment, had several De Segonzac watercolors up for auction. A New York sale brought
in $4,200 (hammer) for a watercolor landscape; a week later in Paris, Christie’s sale of a
fl oral watercolor sold for $3,780 (hammer).
In November 2009, a De Segonzac watercolor similar in composition and size as our client’s,
sold at Christie’s (New York) for $41,500 (hammer).
Within the following year, auction records indicate
43 watercolors by De Segonzac appeared at auction.
The 21 lots that sold ranged in price from $257 to
$14,141 (hammer). Nineteen lots did not sell, and
two sales were not communicated.
Because the art market fl uctuates, determining
value involves a skillful process that includes
ongoing research and a good eye on market sales.
If Christie’s takes a pass, keep it in your portfolio.
Paris street scene signed M. Passoni.
The market may possibly change. King Galleries, 854 Atlanta St., Roswell, GA 30075
MARY MANION is the associate director of Landmarks Gallery and Restoration Studio in Milwaukee. A colum-
nist for Antique Trader since 2006, Manion is a member of the New England Appraisers Association. She regu-
larly writes about the market’s most popular and active artists and themes. A library of her work can be found at
AntiqueTrader.com.
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Furniture Styles and Designs 9
Furniture Styles and Designs
The antique furniture market continues to reward the fi nest I
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examples, celebrity designers, and impeccable provenance. T
Despite changing tastes and decorating style, quality and R
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craftsmanship help good furniture sell. D
Especially desirable are pristine examples from the U
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American Arts & Crafts period, monumental pieces such as T
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bookcases or breakfronts, and pieces made by R.J. Horner, O
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John Henry Belter, or the talented craftsmen in 18th century
New England. Danish modern furniture continues to hold
its value as new buyers appreciate the craftsmanship as well
as the minimalist design. Expect to see utilitarian pieces such
as occasional tables, bookcases, country kitchen canning
cupboards, and nightstands rise in value as they are adapted
into the modern home’s demand that a single piece of
furniture serve double duty.
In this primer, antique furniture expert Fred Taylor
shares his list of the most commonly traded styles and
design elements pursued by 21st century collectors and
decorators. Furniture can be determined by careful study
George III mahogany secretary
and remembering what design elements each one embraces.
bookcase.
To help understand what defi nes each period, here are some Photo courtesy Bonhams & Butterfi elds
of the major design elements for each period.
William and Mary, 1690-1730: The style is named for the English King William of
Orange and his consort, Mary. New colonists in America brought their English furniture
traditions with them and tried to translate these styles using native woods. Their furniture
was practical and sturdy. Lines of this furniture style tend to be crisp, while facades might be
decorated with bold grains of walnut or maple veneers, framed by inlaid bands. Moldings
and turnings are exaggerated in size. Turnings are baluster-shaped, and the use of C-scrolls
is quite common. Feet found in this period generally are round or oval. One exception to
this is known as the Spanish foot, which fl ares to a scroll. Woods tend to be maple, walnut,
white pine, or southern yellow pine. One type of decoration that begins in the William
and Mary period and extends through to Queen Anne and Chippendale styles is known as
“japanning,” referring to a lacquering process that combines ashes and varnish.
Queen Anne, 1720-1760: Evolution of this design style is from Queen Anne’s court,
1702 to 1714, and lasted until the Revolution. This style of furniture is much more delicate
than its predecessor. It was one way for the young Colonists to show their own unique
style, with each regional area initiating special design elements. Forms tend to be attenuated
in New England. Chair rails were more often mortised through the back legs when made
in Philadelphia. New England furniture makers preferred pad feet, while the makers in
Philadelphia used triffi d feet. Makers in Connecticut and New York often preferred slipper
and claw and ball feet. The most popular woods were walnut, poplar, cherry, and maple.
Japanned decoration tends to be in red, green, and gilt, often on a blue-green fi eld. A new
furniture form of this period was the tilting tea table.
Chippendale, 1755-1790: This period is named for the famous English cabinetmaker,
Thomas Chippendale, who wrote a book of furniture designs, Gentlemen and Cabinet-
Maker’s Directory, published in 1754, 1755, and 1762. This book gave cabinetmakers real
direction, and they soon eagerly copied the styles presented. Chippendale was infl uenced
by ancient cultures, such as the Romans, and Gothic infl uences. Look for Gothic arches,
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