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What Are The Ten Most Valuable Comic Books?

One aspect of comic books that often surprises folks is their monetary value. Yes, beyond the action-packed narratives and vibrant illustrations lies a realm where comic books are more than just reading material—they're treasures, some with price tags that can make your eyes pop!

The hobby of comic book collecting is an exciting adventure into a vibrant market, particularly for those special vintage editions. It's a world where nostalgia meets investment, where the thrill of the hunt can sometimes lead to finding a real gem. These aren't just pieces of paper bound together; they're pieces of history, of art, and for some, a seriously valuable investment.

The Ten Most Valuable Comic Books

  • Action Comics #1 - The debut of Superman and arguably the birth of the superhero genre. Valued at over $3 million for copies in top condition.
  • Detective Comics #27 - Introducing Batman, the dark knight of Gotham. Copies have sold for over $2 million.
  • Amazing Fantasy #15 - The first appearance of Spider-Man, swinging into the hearts of fans and fetching around $1 million at auctions.
  • X-Men #1 - The introduction of the X-Men, a team of mutants fighting for peace and equality. Valued at up to $500,000.
  • Batman #1 - The first solo Batman comic, introducing iconic characters like Joker and Catwoman. Can be worth around $500,000.
  • All-American Comics #16 - The first appearance of Green Lantern, shining a light on values up to $200,000.
  • Marvel Comics #1 - The beginning of Marvel Comics, introducing characters like Human Torch and Namor. Values can reach up to $500,000.
  • Tales of Suspense #39 - The debut of Iron Man, valued at around $375,000 for pristine copies.
  • Captain America Comics #1 - The first appearance of Captain America, punching his way up to $343,000.
  • Flash Comics #1 - Introducing Flash and Hawkman, with values sprinting to $450,000.

Market Dynamics

The comic book market is a fascinating ecosystem, driven by the forces of supply and demand, rarity, condition, and the ever-changing winds of pop culture. It's a place where a comic book's value can skyrocket overnight because of a movie announcement or sink due to oversupply. Understanding these dynamics can help collectors navigate the market more effectively, making smarter decisions about when to hold onto a piece and when it might be the perfect time to sell.

Remember, not all comic books are destined to fetch six or seven figures. The value of comic books can vary widely, with many factors influencing their worth. It's the stories of these top-valued comics that capture our imaginations, but it's the rarity, condition, and cultural significance that really pump up their prices.

Learn More About Comic Book Prices

If you're bitten by the collecting bug and want to know more about the value of your comic books, or if you're just curious about what treasures might be hidden in your attic, iGuide’s comic book price guide is the place to start. It's a treasure trove of pricing information for rare comic books and their current values, helping you learn more about this exciting and potentially lucrative hobby.

What is the most valuable comic book?

One aspect of comic books that most people are not aware of is their monetary value. Beyond the vibrant artwork and compelling narratives, these paper-bound treasures can hold significant financial worth, particularly for certain vintage editions. The realm of comic book collecting is much more than a hobby; it's a passionate pursuit that taps into an active and vibrant market.

Collectors scour for rare editions, driven by the thrill of discovery and the potential for investment. This market isn't just about reliving childhood memories or celebrating fandoms; it's also about recognizing the value of comic books as collectible items. Vintage comic books, especially those in pristine condition or featuring key character debuts, can fetch impressive sums, highlighting the financial dimension of this colorful world.

Market Dynamics

The comic book market is a fascinating study in economics, characterized by the principles of supply and demand, scarcity, and market sentiment. Its dynamics are shaped by a variety of factors, from cultural trends to the physical condition of the items. This market is particularly responsive to pop culture shifts, with values fluctuating based on movie releases, character revivals, and other media influences.

Factors Influencing Value

The value of a comic book is influenced by several critical factors, including:
  • Grade: The condition of the comic, with higher grades indicating better preservation and, consequently, higher value.
  • Rarity: The scarcity of an issue, especially in higher grades, significantly impacts its value.
  • Demand: Popular characters and storylines can increase demand and value.
  • Historical Significance: Issues that mark the first appearance of characters or pivotal plot developments are often more valuable.

Risks and Rewards

The comic book market, like any investment market, is subject to risks and rewards. Its volatility can lead to significant gains for knowledgeable collectors but also to potential losses. The market's sentiment can change, influenced by broader cultural trends or the condition of specific issues, making it a challenging but potentially rewarding field for investors.

What is the most valuable comic book?

"Action Comics #1," featuring the first appearance of Superman, holds the title for the most valuable comic book. It represents not just a significant cultural milestone but also a high-water mark in comic book valuations, fetching millions at auction. However, it's essential to remember that not all comic books are as valuable as this iconic issue.

Learn More About Comic Book Prices

For enthusiasts eager to delve deeper into the world of comic book collecting and valuation, iGuide's comic book price guide is an excellent resource. It provides up-to-date pricing information for rare comic books and their current values, helping collectors make informed decisions.

Is my Gucci Wristwatch a Fake??

Identifying a fake Gucci watch requires meticulous examination, as counterfeits are becoming increasingly sophisticated. Authentic Gucci watches, emblematic of modern elegance, are distinguished by their quality craftsmanship and distinctive design, appealing to fashion-forward individuals. However, the allure of acquiring a luxury timepiece at a reduced price has led to a proliferation of replicas in the market. To discern a genuine Gucci watch from a counterfeit, several critical aspects must be scrutinized:

  • 1. Examine the Case Back: Authentic Gucci watches typically feature the logo and the model number on the back of the case. Absence of these details, or the presence of only a logo, suggests it's a replica. It's noteworthy that some genuine models, like the Gucci 3900 series, may not adhere to this norm.
  • 2. Inspect the Watch Face: The dial of a genuine Gucci watch exhibits precision and uniformity, having undergone rigorous quality control. Imperfections in the dial, including irregular spacing or sizing of numbers, indicate a fake.
  • 3. Look for 'Swiss-made': True Gucci watches bear the inscription 'Swiss-made' below the 6 o’clock position. Its absence signals a counterfeit.
  • 4. Observe the Hands Movement: Gucci's Swiss quartz movement ensures a smooth, seamless motion of the hands. In contrast, replicas often exhibit a jerky or ticking movement due to inferior mechanisms.
  • 5. Assess the Weight: Genuine Gucci watches, crafted from premium materials like gold and stainless steel, feel substantially weighty. A lighter weight implies the use of lesser quality materials, characteristic of fakes.
  • 6. Verify the Serial Number: A legitimate Gucci watch comes with a certificate of authenticity displaying a serial number, which can be confirmed with Gucci. This certificate is crucial for both new and pre-owned purchases.
  • 7. Consider the Price: An exceptionally low price, significantly below the recommended retail price (RRP), is a strong indicator of a counterfeit product. Authentic luxury watches rarely, if ever, sell at deeply discounted rates.


By adhering to these guidelines, individuals can enhance their ability to distinguish between genuine Gucci watches and replicas, safeguarding against the acquisition of counterfeit items.

Gun Collecting — An Interesting and Profitable Hobby

ANTIQUE GUN COLLECTING is a hobby and that, in turn, is defined as "Something in which one takes an absorbing interest"—a hobby is divorced from a man's main vocation. It will repay you as a sanctuary safe from the stress and strain of a distraught world. It will develop your traits of observation, increase your historical knowledge, increase your scientific information and offer a good monetary return.

Typical of the letters received by the writer is the following: "I was on the verge of selling a gun I had bought at an auction for eight dollars until I was told about your book, `American Antique Guns and Their Current Prices.' After looking it up I was able to get $250.00 from a dealer. I do not ordinarily handle guns because I am afraid of them and also because I do not know anything about them. Can you re- fer me to some elementary text that would help me?" The answer to this letter is this series of articles. They will attempt to explain step by step, in plain English the mysteries of guns, the fundamentals of gun collecting, and how to make guns an interesting and profitable addition to your antique business. Once you have mastered these lessons you will find the knowledge is a passport to a world of gun collectors that intensely ride their hobby.

The gun to us is a symbol of the battles we Americans fought for our freedom and its maintenance. Firearms influenced our destiny and are related to our development. Firearm manufacture with the introduc- tion of interchangeable parts and the use of machinery supplied the key- stone of America's industrial development.

Each gun opens a window upon a historic vista. Biography, Science, History are conjured up by fact while the magic of fancy unveils the romance and mystery of the past. Storied guns! Ghosts of the past! That "Kentucky pistol" beaten into shape and created into form by the Pennsylvania village blacksmith and gunsmith was the sidearm of the fur trader as he guided the horse pack caravan laden with merchandise to trade for pelts.

That derringer reposed in the vest pocket of the cotton planter as he faced the professional gambler in a game of cards on the packet as it sailed the Mississippi.

That colt came from the Sheriff's carved holster as he headed the vigilantes for law and order. The oak of those grips came from the famous Connecticut "Charter Oak" that played such an important role in colonial history.

That pair of "dueling pistols" ornate and encased in the velvet-lined box with the accouterments pacified some ruffled pride. That "Smith & Wesson" suggests an officer's sidearm in the War Between the States.

These old pieces have witnessed life and death, love and hate, sorrow and sacrifice, triumph and disaster, and with a kaleidoscope turn the pat- tern is new. They are the mirror of a vanished era and we interpret the reflection terms of our knowledge. America gave to the world the rifle, the derringer, and the revolver. These old and revered weapons were invented for peace and are a noble reminder of the pageant of people that braved unknown dangers, "went West," blazed trails, formed territories, established law and order, pushed back the frontier and created a nation. The revolver was one of the greatest civilizing factors. The march of civilization and its survival is dependent upon firearms though it,be a far cry from the Scripture's record of the use of ingenious machines with power from twisted ropes or of David's sling.

Firearms influenced our destiny and are related to our development. We are a peace-loving people, yet no American has lived to the age of thirty-five without seeing his country at war. The saga of weapons can sustain "an absorbing interest" because it is a brilliant and neglected story of American historic importance with many long and remarkable chapters between the days of the obscure and primitive-tool equipped gunsmith who forged the world's most accurate rifle and our modern huge plants with the finest equipment. ,The United States is the story of the invention of mechanical miracles and astonishing progress. The gun was the genesis of mass production. Mass production gave us industrial su-premacy and now though we have only 7 percent' of the population of the world, we produce 65 percent of the manufactured goods.

Eli Whitney, whom we know for his invention of the cotton gin, also accomplished another feat fully as important. He received a government contract in 1798 to build fifteen thousand flintlock muskets. Each gun until then was an individual forged weapon, made by a single workman. The weapons resembled each other but the parts were not interchange- able. Whitney separated the gun into uniform, standard and interchange- able parts and manufactured the component parts by machinery. That is how mass production was born.

The Remington gun factory, founded in 1816 by Eliphalet Remington, farmer and blacksmith, produced the first breech-loading rifle that gained worldwide acceptance.

Samuel Colt, Connecticut Yankee whose career was fantastic, invented the first practical repeating revolver in 1835.

Oliver Winchester backed the first practical repeating rifle, and also helped finance Horace Smith and Daniel Baird Wesson. They became Smith & Wesson, a synonym for the cartridge revolver.

John M. Browning, a Mormon gunsmith of Ogden, Utah, was one of the greatest and most prolific inventors of firearms.

Behind the names of Eli Whitney, Simeon North, Henry Deringer, Alfred Mordecai, Ethan Allen, Eliphalet Remington, Samuel Colt, Hor- ace Smith, Daniel Baird Wesson and John M. Browning are important and dramatic stories as well as the unsung craftsman.who supplies many fascinating details. Vital to the story of American technical ingenuity, skill and progress is the American method of belt assembly lines and interchangeable parts, contributions by gunsmiths.

Antique Gun Collecting demands knowledge, research and study. The background of a weapon is dependent upon five w's which are: Who made it? Where? When? Why? Worth?

A Paterson Colt was picked up at a junk store for $10.00. Treasures lurk in trash and that old, rusty, junky gun may be a gem. How else could one recognize its worth if not through diligent study? Follow carefully on iGuide our series of articles and you will soon discover that an adventure may be grasped by one who "takes an absorbing interest."

Antique guns are a sound investment—financial probably—but certainly in appreciation of fine craftsmanship with the dividend in pride of possession.

Gun collecting is an educational and profitable hobby. To be a successful collector you must, of course, study your subject. Observation will teach you much. One of the intriguing features of gun 'collecting is the knowledge it brings of the past. Guns are records fog interpreting, visualizing and vitalizing history. The knowledge, of the past helps us to see it as a reality in relation to the present.

Gun collecting is an unusual hobby because it is a source of profit rather than an expense. It also furnishes abundant pleasure and fascinating study. We hope to trace a brief outline of gun collecting in this book. Acquiring a collection of interest and value is a long-term operation. There are many branches to explore with study and experience to master them, but be not deterred, therein is the secret of its interest.

Unlocking the Value: Exploring the Market for Thoroughbred Horses

When we think of horses, images of majestic creatures galloping across open fields or competing in thrilling races often come to mind. However, one aspect of horses that most folks don't consider is their monetary value. Specifically, within the realm of thoroughbred horses, there exists a dynamic and lucrative market driven by a variety of factors.

Market Dynamics

The market for thoroughbred horses is a complex ecosystem influenced by numerous factors. Demand fluctuates based on trends in racing, breeding, and even leisure riding. High-profile events like the Kentucky Derby or the Royal Ascot can significantly impact the market, as success on the racetrack often translates to increased value for both the horse and its offspring.

Additionally, the pedigree of a horse plays a crucial role in its marketability. Offspring of champion racehorses or from prestigious bloodlines can command premium prices. Furthermore, the reputation of breeders and trainers can also influence buyer interest and confidence in the investment.

Factors Influencing Value

Several key factors contribute to determining the value of a thoroughbred horse:
  • 1. Pedigree and Bloodlines: Horses with a lineage of champions are highly sought after in the market. The potential for success on the racetrack is often perceived to be greater in these bloodlines.
  • 2. Performance: The track record of a horse, including its racing achievements and performance in competitions, directly impacts its value. Success in prestigious races can significantly enhance a horse's worth.
  • 3. Conformation and Health: Physical attributes and overall health are critical factors. Horses with excellent conformation, free from any major health issues, are typically more valuable as they are perceived to have a higher likelihood of success and longevity in racing.
  • 4. Market Trends: Economic and industry trends can influence demand and subsequently impact prices. For example, a surge in interest from international buyers or new regulations within the industry can affect market dynamics.
  • Risks and Rewards

    Investing in thoroughbred horses can be both lucrative and risky. While the potential for substantial financial gain exists, it is not without its challenges. The high costs associated with breeding, training, and maintaining a racehorse can be substantial. Moreover, success on the racetrack is never guaranteed, and factors such as injuries or underperformance can lead to significant losses.

    However, for those willing to take on the risks, the rewards can be immense. The thrill of owning a successful racehorse, the potential for lucrative breeding rights, and the prestige associated with winning prestigious races are just a few of the rewards awaiting successful investors in the market.

    World Record Price and Varied Values

    It's worth noting that while some thoroughbred horses fetch astronomical prices, not all horses reach such heights of value. In 2006, a two-year-old, then unnamed colt, set the world record for the highest price ever paid for a thoroughbred racehorse at public auction. The Forestry colt was sold for $16 million (£9.1 million) through agent Demi O'Byrne at an auction held at Calder Race Course, Florida, USA. Remarkably, this colt had yet to even race, underscoring the speculative nature of the market and the premium placed on perceived potential.

    In conclusion, the market for thoroughbred horses is a fascinating blend of tradition, speculation, and prestige. Driven by a multitude of factors, including pedigree, performance, and market trends, it offers both opportunities for substantial financial gain and risks of significant losses. While not all horses reach the staggering values seen in record-breaking sales, the allure of owning a champion racehorse continues to captivate investors and enthusiasts alike.

The Rise of VHS Video Collecting: Nostalgia Meets Investment

In the age of digital streaming and on-demand entertainment, a surprising trend has emerged, breathing new life into a seemingly obsolete medium: VHS video collecting. This resurgence is driven by a blend of nostalgia, the thrill of hunting rare finds, and the appeal of physical media in an increasingly digital world. Collectors and enthusiasts are scouring thrift stores, online marketplaces, and auctions to find hidden gems from the era when home video revolutionized movie watching.

One of the pivotal moments highlighting the financial potential of VHS collecting occurred during a Heritage Auctions event, where a 1983 white label VHS tape of Star Wars sold for an astonishing $32,500. This sale not only shattered expectations but also set a precedent for the value of rare and sought-after VHS tapes in the collectors' market.

However, it's important to note that not every VHS tape holds significant value. For a VHS video to be considered valuable, it must meet certain criteria, the most crucial being its condition. To fetch high prices, tapes must be in their original sealed condition, like new, and unused. This pristine state ensures the item's authenticity and preserves its historical and collectible integrity, making it highly desirable to collectors seeking to add to their curated collections.

The collectibility of VHS tapes extends beyond just the content of the films themselves. Factors such as cover art, rarity, and cultural significance play critical roles in determining a tape's value. Limited releases, unique cover art variations, and tapes associated with significant cultural moments or shifts in the entertainment industry often command higher prices.

The rise of VHS collecting speaks to a broader trend of valuing physical media in a period where digital formats dominate. Collectors appreciate the tangible connection to the past, the artistry of the packaging, and the ritual of analog film viewing. Moreover, the community aspect of collecting, where enthusiasts share knowledge, trade tapes, and celebrate their finds, adds a layer of social engagement that digital platforms struggle to replicate.

In conclusion, the rise of VHS video collecting is a fascinating intersection of nostalgia, culture, and investment. The remarkable sale of a 1983 Star Wars VHS tape at Heritage Auctions underscores the potential value of these collectibles, provided they are in mint condition. As this trend continues to grow, it reaffirms the enduring appeal of physical media and the lengths to which collectors will go to preserve and celebrate the history of film and entertainment.

A Pocketful of History: The Case Knife Company

For over 130 years, Case knives have been trusted companions for farmers, ranchers, cowboys, and everyday folks alike. But the story behind these iconic American blades goes deeper than just utility. It's a tale of family, craftsmanship, and an unwavering commitment to quality.

From Wagon to Workshop

The saga begins in 1889, when the Case brothers – William Russell, Jean, John, and Andrew – started selling handcrafted knives from their horse-drawn wagon in upstate New York. Their dedication to quality quickly built a reputation, leading to the formation of the Case Brothers Cutlery Company in 1900.

Taking Root in Bradford

In 1905, seeking expansion, the company relocated to Bradford, Pennsylvania, where it remains today. John Russell Case, son of William Russell, formed W.R. Case & Sons. Under his leadership, the company thrived, establishing its "Tested XX" trademark, signifying blades tempered twice for superior strength.

A Legacy Forged in War and Peace

Case knives played a crucial role in both World Wars, supplying sturdy pocketknives and utility blades to American soldiers. These wartime models are now prized collectibles. And beyond battlefields, Case knives became ubiquitous tools for farmers, ranchers, and anyone needing a reliable cutting companion.

More Than Just Blades

While pocketknives remain their core, Case expanded its offerings over the years. From fixed-blade hunting knives to kitchen cutlery and commemorative collectibles, the brand caters to diverse needs while maintaining its focus on quality and craftsmanship.

Carrying on the Tradition

Today, W.R. Case & Sons remains family-owned and operated, carrying on the legacy of its founders. Each knife is a testament to their commitment to quality, using time-tested techniques and premium materials. And as they forge ahead, Case knives continue to be more than just tools, they're symbols of American heritage, passed down through generations and trusted by those who value tradition and craftsmanship. So, the next time you pull out your Case knife, remember the rich history it embodies. It's not just a blade, it's a piece of Americana, ready to tackle any task, big or small.

Fight'n Rooster: Where Grit Meets Craftsmanship

The Fight'n Rooster brand holds a unique niche amongst collectors thanks to its blend of German craftsmanship and distinctive designs. Here's a glimpse into its story:

The Rooster Crows in 1976

The Fight'n Rooster brand was born in 1976, the brainchild of Frank Busterf of Lebanon, Tennessee. Dissatisfied with American manufacturers fulfilling his special order requests, he embarked on a different path.

Destination: Solingen, Germany

Frank partnered with the renowned Olbertz factory in Solingen, Germany, known for its expertise in knifemaking. He drew inspiration from vintage celluloid patterns of the 1940s, breathing new life into them with German steel and craftsmanship.

Mark of the Roosters

Early Fight'n Rooster knives (1976-1982) displayed a simple tang stamp with two fighting roosters and "Solingen" or "Germany" markings. Later iterations saw the addition of "Frank Buster Cutlery Company" and "Frank Buster Celebrated Cutlery" alongside the roosters.

Beyond Pocketknives

While traditionally known for pocketknives like stockmans and trappers, Fight'n Rooster expanded its repertoire. Fixed-blade knives, hunting companions, and even commemorative pieces showcased the brand's versatility.

A Family Affair

Following Frank's passing in 2007, his son Stirling Buster carried the torch. Today, under Stirling's stewardship, Fight'n Rooster knives continue to be produced in Solingen, maintaining the brand's focus on quality and distinct aesthetics.

Legacy of Passion

Though not as widely recognized as some American giants, Fight'n Rooster holds a special place in the hearts of collectors. Their knives embody a unique blend of German precision and Frank's original vision, offering a distinct alternative to mainstream brands.

Collecting the Crowing

Dating Fight'n Rooster knives can be tricky due to production overlaps and tang stamp variations. Collectors rely on resources like Joe Parker's "Fight'n Rooster Knives Reference Guide" and forums like BladeForums to navigate the nuances.

Looking Ahead

Today, Fight'n Rooster remains a relatively small operation, but its dedicated following ensures its place in the knife world. Whether you're a seasoned collector or simply appreciate unique craftsmanship, a Fight'n Rooster knife holds within it a story of passion, grit, and the unwavering spirit of the Fighting Roosters themselves.

Sharpened Passions — A Glimpse into the World of Knife Collecting

Knives, from their humble beginnings as tools of survival, have evolved into objects of art, history, and personal interest. Knife collecting, spanning centuries and continents, reflects this multifaceted appeal. Delve into this intriguing world with us:

From Antiquity to Auction

While collecting artifacts like weapons and tools pre-dates recorded history, organized knife collecting is relatively recent. The late 19th century saw a surge in interest, fueled by growing affluence and fascination with American westward expansion. Early collectors focused on historical pieces like Bowie knives and military blades.

The 20th Century Boom

The 20th century witnessed a boom in knife collecting, with specialized clubs, publications, and shows emerging. New categories like custom knives and tactical folders entered the scene, broadening the collector's landscape.

Who Collects the Blade?

The diverse world of knife collectors attracts individuals with various motivations:
  • The Historian — Drawn to the past, they seek knives that tell stories of wars, cultures, or specific historical figures.
  • The Craftsman — Appreciating meticulous design and engineering, they value knives made with exceptional materials and techniques.
  • The Investor — Seeking financial gain, they focus on rare, limited-edition, or vintage pieces with potential market appreciation.
  • The Practical Collector — They combine interest with utility, collecting knives for everyday use while appreciating their value as collectibles.

Market Values: A Double-Edged Sword

The value of a collectible knife is influenced by several factors, including:
  • Age and Rarity — Older, rarer knives generally command higher prices.
  • Condition — Mint condition significantly increases value.
  • Maker and Provenance — Renowned makers and documented history raise desirability.
  • Market Trends — Popular patterns and materials fluctuate in value over time.
It's crucial to remember that the market value shouldn't solely drive collecting. Genuine passion, a thirst for knowledge, and appreciation for history and craftsmanship are the cornerstones of this fulfilling hobby.

The Future of Sharpened Passions

Knife collecting continues to evolve, embracing online communities and forums, attracting younger generations, and expanding its scope to include modern tactical and artistic designs. While market values remain significant, the true allure lies in the stories each blade whispers, the craftsmanship it embodies, and the connection it offers to history and heritage. So, whether you're drawn to the practical edge of a pocketknife or the historical weight of a military dagger, the world of knife collecting welcomes you with a treasure trove of stories and blades waiting to be discovered. Just remember, the most valuable collection is the one built on genuine passion and appreciation.

Related Links

iGuide's Knife Collector Guide

How can I sell my old stamp collection?

There are several ways to sell your stamp collection. You can sell them online through various marketplaces, an online store, or your own website. You can also sell them offline at a stamp auction through a Private Treaty Sale, through a stamp magazine, or even at stamp shows.

Here are some places where you can sell your stamps:
Apfelbaum: Apfelbaum has been helping philatelists expand their stamp collection since 1910. It’s possible to ship your valuable stamps with free shipping directly to the merchant and receive an instant cash offer. In-person appraisals are also available for high-value portfolios. An Apfelbaum representative will travel to your location to make an evaluation. For example, the service can help you prepare for auctions or estate planning. You can start the process by providing your name, email and phone number. A representative will help you decide if mailing off your collection or a local appraisal is better. You will receive a prepaid UPS shipping label when your stamps are ready for shipment.

eBay: Consider eBay to sell a collection that may consist of many common issues or might be too small to sell through a specialized stamp-selling service. You may also be able to earn more through this platform as you are connecting with philatelists directly and can pay fewer fees. You can also sell rare stamps and make money on eBay. The most valuable single stamps sell from $6 to $10,000. The eBayfees are 13.25% for the first $7,500 in transactions and 2.35% on amounts above $7,500.

Etsy: You can successfully sell postage stamps on Etsy that are excellent matches for craft supplies or wedding invitations. There are many listings for vintage stamps that are in mint condition and are hard to find. Some sellers organize their collection by theme such as by color (blue, red, green) or theme (Christmas, historical figures, wildlife). While you most likely won’t be selling to a traditional stamp collector, you might be able to make more money on Etsy if you have an elegant collection. That’s because the new owner will be proud to display in their home decor.

American Philatelic Society: You can sell philatelic material worldwide with the APS StampStore, a hassle-free online platform that does the work for you. Follow three simple steps to submit your items, batch and ship them to the APS, and watch your sales.

West Coast Stamp Company: In order to avoid being duped by a stamp collector, consider selling to a certified stamp dealer. A stamp dealer who is registered with the American Philatelic Society will likely be more trustworthy. They must adhere to best business practices in order to hold their membership. You can also sell your collection to a stamp auction house.

Which Morgan silver dollars are worth money?

All authentic Morgan silver dollars are worth money, but some are worth more than others. Morgan dollars were issued by the United States Mint beginning in 1878. The last Morgan dollar was released in 1921. More recently, the Mint began issuing a Morgan dollar in 2021. All pre-1922 Morgan dollars are made of 90% silver and weigh about 26.73 grams, so they have significant value simply for their silver content. Beware of fakes! Morgan dollars weighing 24 or 25 grams are fake.

Here is a list of Morgan dollars that are rare or harder-to-find. Those not listed here are considered to be common.

Which Morgan dollars are key or rare?

  • 1878 CC
  • 1879 CC
  • 1880 CC
  • 1881 CC
  • 1882 CC
  • 1883 CC
  • 1884 CC
  • 1885 CC
  • 1886 S
  • 1888 S
  • 1888 CC Fake!
  • 1889 CC
  • 1890 CC
  • 1891 CC
  • 1892 S
  • 1893
  • 1893 O
  • 1893 S
  • 1894
  • 1894 S
  • 1895
  • 1895 O
  • 1895 S
  • 1896 S
  • 1899
  • 1903 O
  • 1903 S
  • 1904 S

Are old gold teeth worth anything?

It's not unusual to find grandpa's old gold teeth in a drawer when cleaning out the estate. Are gold teeth worth anything? The name DENTAL GOLD is given by dentists to any bridgework or caps made of an alloy of gold. Not many people are familiar with the intricacies of gold use in dentistry, but there are many interesting facets of dental gold and how it functions in the mouth. Today, dentists don't often use gold in their dentistry, but in past years it was quite a common practice.

How pure is dental gold?

Dental gold is usually an alloy consisting of 16 parts gold and 8 parts other metals such as palladium, silver, copper and/or tin. Gold buyers want yellow dental gold, not white or silver.

How can I sell gold teeth and bridgework?

Dental gold is valued by weight, usually gram weight (although some buyers use pennyweight). Thus, the weight of the teeth themselves must be eliminated. To do this, you must remove the teeth from the bridgework or cap. How? Simply take a hammer and smash the tooth until it falls from the gold crown or denture. Use pliers to pull any remaining parts from the gold. Next, weigh the gold pieces on a gram scale and write down the total gold weight you have. With that information, you are ready to contact a buyer.

To calculate the value of your dental gold, consider the following example. You have a gold cap, and it weighs 1 gram. There are 31 grams in a troy ounce, so you have 1/31 of an ounce of gold. But it is not pure gold. It is 16 karat, which is 2/3 pure. For simple math, let's use a per ounce price of $1000 for pure or 24 karat gold (obviously, as of this writing it is much higher). Divide $1000 by 31 to get the value of one gram of pure gold. That gives us a value of $32.25 for one gram of pure gold. Take 2/3 of that to get the value of one gram of 16 karat gold, or $21.29. But nobody will pay you 100% of the gold value, because dealers buy for resale and must make a profit. But, armed with this information and your math skills, you can quickly determine how much your gold buyer is offering.

Remember, a buyer of dental gold is a dealer and is buying wholesale from you with the goal of earning a profit. You will not get the full gold value for your gold teeth. Why not? Because like any business there is a markup between wholesale and retail (or scrap value in the case of dental gold).

Today, fillings are more commonly made of other less expensive and/or cosmetically desirable substances like mercury amalgam or polymer compounds. However, gold is still the strongest and longest lasting material a dentist can use.

NOTE - White metal teeth or bridgework not yellow, isn't worth anything. Only yellow gold dental work is wanted by dealers at this time.

iGuide's Gold Price Guide

Are old buffalo nickels worth anything and who buys them?

If you want to flip large lots of buffalo nickels for a quick profit, the current wholesale price dealers will pay for clean, undamaged buffalo nickels is $10.00 per pound in bulk. Large dealers will take any quantity up to 100,000 coins or 1000 pounds in weight. There are roughly 90 nickels per pound.

Any nickel dated from 1913 to 1938 is a buffalo nickel and is also sometimes called an Indian head nickel. They are called 'buffalo nickels' because they have an image of a standing buffalo on the reverse, or backside of the coin. In 1939, the buffalo nickel was replaced with the Jefferson nickel, which is what we still have, with few changes, today.

Buffalo nickels are very common, but some rare dates are worth dollars, not nickels. However, they are rare for a reason. You could spend a lifetime searching through mountains of of them and never find a rare date. Finding a rare date or mint mark is like winning the lottery.

It is much more profitable to deal in bulk. Buy them whenever you have the chance at flea markets, yard sales, estate sales, then turn around and sell them to a reputable dealer for a profit. This is called 'the art of the flip'. Or do some searching for rare dates, then do the flip.

Whatever you decide to do, just remember that there are lots of dealers who are in the business of buying large lots of common date coins. If you want to know how to find a reputable dealer to sell your buffalo nickels to, JUST ASK IGUIDE.

Unlocking the Value: Are Old Pennies Worth Anything, and Who Buys Them?

Pennies, those small copper coins often overlooked in our pockets and purses, may hold surprising value beyond their nominal worth. Many people wonder if their collection of old pennies is worth anything and who might be interested in purchasing them. Let's delve into the world of numismatics to uncover the potential value of old pennies and explore the market for these historic coins.

There are people who make a very good side hustle out of buying and selling old wheat pennies. They make dollars on the penny (LOL)! They find large lots of old pennies then turn around and sell them for a profit. How much do they get? Usually they can sell them for around $3.50 per pound of old pennies. Penny dealers will buy any quantity up to 100,000 coins or 1000 pounds in weight. You should know that there are roughly 150 pennies per pound.

A wheat penny is any penny dated from 1909 to 1958. They are called "wheat pennies" because they have a sheaf of wheat on the reverse, or backside of the coin. In 1959, the sheaf of wheat was replaced with the Lincoln memorial, which is still on the reverse of our pennies today.

Wheat pennies were produced starting in 1909 to commemorate the 100th anniversary of Lincoln's birth. They were first issued on 2 August 1909 and were the first U.S. coins to feature a real person (Abraham Lincoln). As the coins began to circulate, controversy broke out over the letters V.D.B. on the coin, which were located on the bottom of the reverse side and were the initials of the penny's designer, Victor David Brenner. Many people thought that the New York sculptor’s initials did not need to be on the coin or were too prominent. Other people did not understand the meaning behind the initials or their purpose. One of the most valuable of the wheat pennies is a 1909 date with an S mint mark and the VDB initials in prominence. It is called the 1909 SVDB and can sell for as much as $1,000.00 or more in uncirculated 'like new' condition.

Wheat pennies are very common, but some rare dates are worth dollars, not pennies. However, they are rare for a reason. You could spend a lifetime searching through mountains of wheat pennies and never find a rare date. Finding a rare penny is like winning the lottery.

It is much more profitable to deal in bulk. Buy them whenever you have the chance at flea markets, yard sales, estate sales, then turn around and sell them to a reputable penny buyer for a profit.

Understanding the Value

The value of old pennies can vary significantly based on factors such as rarity, condition, and historical significance. While most pennies circulated in the United States are common and hold little numismatic value, certain rare dates, mint marks, and errors can make a penny worth considerably more to collectors.

Rare Dates and Mint Marks

Pennies minted in specific years or bearing unique mint marks are often highly sought after by collectors. For example, the 1909-S VDB Lincoln cent, featuring the initials of designer Victor David Brenner, is considered a numismatic treasure due to its low mintage and historical significance. Similarly, pennies from the early years of the United States Mint, such as the 1793 Chain cent or the 1799 "9 over 8" variety, command premium prices at auction.

Error Coins

Mistakes during the minting process can also lead to valuable error coins. Examples include double strikes, off-center strikes, and die cracks, among others. Collectors are often drawn to these unique specimens due to their rarity and the intriguing stories behind their production.

Condition Matters

In the world of coin collecting, condition is paramount. Coins in pristine, uncirculated condition are highly desirable and can command significant premiums compared to their more worn counterparts. Factors such as luster, surface preservation, and absence of blemishes play crucial roles in determining a coin's grade and, consequently, its value.

The Market for Old Pennies

Numerous avenues exist for selling old pennies, ranging from online marketplaces and auction houses to coin shops and specialized dealers. Collectors and enthusiasts actively seek out these coins to add to their collections or invest in numismatic assets.

Who Buys Old Pennies?

Coin collectors, investors, and dealers are the primary buyers of old pennies. Collectors often pursue specific date and mint mark combinations to complete sets or assemble thematic collections. Investors may view old pennies as tangible assets with potential for appreciation over time, particularly in the case of rare or historically significant specimens. Dealers, meanwhile, buy and sell old pennies as part of their numismatic business, leveraging their expertise to assess value and negotiate transactions.

Conclusion

While not every old penny is worth a fortune, many hold value beyond their face value to collectors and investors alike. By understanding the factors that contribute to a penny's worth and exploring the vibrant market for these historic coins, individuals can unlock the hidden treasures lurking within their coin collections.

How do I rate the condition of my old paper money? A Beginner's Guide to Grading Currency

When grading items, one should remember the goal: to paint an accurate picture in the mind of the potential buyer of what to expect upon receipt of the item. Of course, a picture is worth a thousand words, and often a seller can include high-quality images to help describe the note, but too frequently an image does not clearly show all flaws. This is when a good grading description becomes invaluable. The buyer relies on the seller's honesty and accuracy in disclosure. It is therefore incumbent upon the seller to do the best job possible.

This being said, writing a good grade description is more of an art than a science. One can be too brief, or too comprehensive, with equally bad effect. If too brief, the reader has an eerie feeling of uncertainty which causes a decision not to buy. Too much detail, and the opposite can happen: the buyer imagines the accumulation of flaws in the description of every tiny flaw and pictures an item in horrible shape, when this is not the case.

70 EPQ Gem Uncirculated

Perfect. Brilliantly clean, crisp, bright, sharp corners, deep color. The highest grade possible. Notes must have no evidence of handling visible at 5x magnification. The margins and registration must appear centered to the unaided eye.

The 70 grade represents an extremely rare state of preservation and should NOT be used unless the item is absolutely perfect!

The item exhibits an amazing state of preservation with virtually no perceptible flaws of any kind, other than very minor flaws which may have occurred during the printing process.

69 EPQ Superb Gem Uncirculated

This note is nearly visually indistinguishable from a 70 but the margins and registration may appear slightly off center. There is no evidence of handling visible to the unaided eye.

68 EPQ Superb Gem Uncirculated

The margins and registration are slightly off center. There may be very minor handling.

67 EPQ Superb Gem Uncirculated

A note with above-average margins and registration. There may be minor handling.

66 EPQ Superb Gem Uncirculated

There may be slightly more handling than a 67 EPQ note. The centering must be above average.

65 EPQ Gem Uncirculated

The note may have one or two minor distractions as a result of minor handling. The centering must be above average.

64 Choice Uncirculated

The centering is off on one or two sides. Some handling may be evident but there must be no folds in the design.

63 Choice Uncirculated

The centering is imperfect and the design may be flat. There may be several flaws but there will be no folds.

62 Uncirculated

The note is strictly uncirculated but may have minor-to-moderate handling and/or corner tip issues. There will be no folds, however. The margins may touch or come into the design.

61 Uncirculated

The note is poorly centered and the margins come into the design. There may be counting marks, smudges or other signs of handling. There will be no folds through the design.

60 Uncirculated

A note with problems that may include toned paper, a small stain or fading. There will be handling issues but there will be no folds through the design.

58 Choice About Uncirculated

Barely circulated. Appears uncirculated but upon close inspection, it apparently has been lightly circulated. Often a note with a single fold that crosses the design.

55 About Uncirculated

Barely circulated. This grade is commonly assigned to a note that has one fold or two to three corner folds through the design.

53 About Uncirculated

Barely circulated. Clean, crisp, sharp corners, good color. Two or three very light almost invisible vertical folds.. Minor signs of handling.

50 About Uncirculated

Barely circulated. Sharp, crisp, clean, strong color. The note can have two heavier folds or light horizontal and vertical folds. The handling can be noticeable.

45 Choice Extremely Fine - Circulated

Barely circulated. Minor discoloration and wear, crisp, fairly sharp, decent color. A note with two to three heavy folds, one of which may be horizontal.

40 Extremely Fine - Circulated

Lightly Circulated. Noticeable discoloration and wear, weakening paper, minor corner wear, good color. There are three or more folds, one of which may be horizontal.

35 Choice Very Fine - Circulated

Lightly Circulated. For years dealers and collectors called this grade VF-XF. This note looks Extremely Fine, but it will have four to seven light folds.

30 Very Fine - Circulated

Lightly Circulated. This note will be circulated and may have light soiling. Can have up to seven to ten folds.

25 Very Fine - Circulated

Moderately Circulated. A note that shows modest evidence of circulation as well as more folds and/or soiling than a note graded 30.

20 Very Fine - Circulated

Moderately Circulated. The note is moderately circulated with numerous folds, mild soiling. There are no serious detractions but there may be minor defects.

15 Choice Fine - Circulated

Moderately Circulated. This note may look like a Very Fine note, but upon closer examination it is found to have too many folds or too much circulation to warrant a Very Fine grade.

12 Fine - Circulated

Rough Circulated. Evidence of circulation is considerable with rounded corners, margin splits and other issues. The note must be whole with solid paper.

10 Very Good - Circulated

Rough circulated. A solid, whole note with lots of circulation. The note is too limp and has a number of minor problems.

8 Very Good - Circulated

Rough circulated. The note is heavily circulated but is intact. Some small pieces may be missing. Soiling, light stains or splits are common for this grade. The note is limp.

6 Good - Circulated

Poor, rough circulated. The note is very worn with serious splits, fraying of the margins and damage.

4 Good - Circulated

Poor, rough circulated. A very heavily circulated note with numerous problems. It is totally limp with impaired visual appeal. Notes in this grade are commonly seen with pieces missing.

Descriptions

Here are some typical descriptions we see in the marketplace. Note the arrangement of descriptive detail, and choice of upper/lowercase notation.
GEM UNCIRCULATED sharp corners, crisp, rich color, no folds, no tears, no pinholes, no visible wear
CHOICE UNCIRCULATED Barely circulated. Clean, crisp, sharp corners, good color, no folds, no tears, no pinholes --- see photos
ABOUT UNCIRCULATED Barely circulated. Clean, crisp, sharp corners, good color, no folds, no tears, no pinholes --- see photos
EXTRA FINE CIRCULATED
VERY FINE CIRCULATED. noticeable wear and wrinkling, good color, numerous folds, no tears, no pinholes --- see photos
FINE CIRCULATED fairly clean, well worn with noticeable folds, no tears, no pinholes --- see photos
VERY GOOD CIRCULATED well worn, numerous folds, minor edge tears, no pinholes --- see photos
ROUGH CIRCULATED discolored and well worn with numerous folds, edge erosion, and edge tears --- see photos

What is Disney animation art?

A large and active market exists for original Disney animation art. Prices vary widely, from a few dollars for a common print, to tens of thousands of dollars for early original production cels with hand-painted master backgrounds. A wide variety of offerings can be found on auction sites such as eBay and at major auction houses like Heritage Galleries and Profiles in History. But, what are the relative values of lithographs, sericels, serigraphs, production cels, and common prints? Which is more valuable typically, a sericel or a serigraph? How can one tell whether they have an original production cel or merely a sericel?

GOLD LABEL PRODUCTION CELS

Starting around the year 1955, and continuing until sometime around 1966, Disneyland had a shop called ART CORNER where they sold, among other things, original Disney production cels. In the hobby, these are known as GOLD LABEL production cels, because on the back of each one a gold sticker can be found that reads, 'THIS IS AN ORIGINAL HANDPAINTED CELLULOID DRAWING ACTUALLY USED IN A WALT DISNEY PRODUCTION. Released exclusively by DISNEYLAND, 1313 Harbor Blvd, Anaheim California. Copyright Walt Disney Productions.' The text on the label may have slight variations over the years, but the label text is almost always printed in red ink on a gold label. Many of these authentic production cels make reference to the Disneyland Art Corner, as in 'RELEASED EXCLUSIVELY BY THE ART CORNER OF DISNEYLAND'.

These cels are very desirable in the marketplace, and can have a value ranging from a low of one hundred dollars or so, and up to thousands of dollars, depending on the scene, the quality, and the desirability of the film and characters in the cel. A hand painted Master Background as part of the piece also adds value.

SERIGRAPH CELS




How do I rate the condition of my old 45 RPM records?

I believe someday all collectibles will be graded using a 10-point scale, and that this universality will be a factor in making them a recognized investment like stocks and bonds. Grading services will exist for every type of antique or collectible, and these grading services will enable a liquid marketplace for trading in antiques and collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.

The 45 RPM Record Collecting Hobby uses a grading system known as the VJM Grading System. The VJM Record Grading System is an internationally-used and recognized system for grading both 45s and LPs. It is used by virtually all jazz, blues, personality and most pre-war record dealers and collectors alike, with an easily understood sequence of letters to show grades and a system of abbreviations to show faults and damage. The first grading system to be adopted by jazz record collectors was devised by the publishers of Record Changer magazine in the 1940s, and the system now known as the VJM Grading System is a refined version of the former, introduced in the early 1950s.
The VJM System has never been, however, aligned with a 10-point system. We have attempted with this guide to match the VJM system to a 10-point system, because, in our opinion, buyers feel more secure with "sight unseen" Internet buying when they are familiar with a 10-point grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

This VJM/10-point scale for grading  is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.

I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your item. As in any collectible, the better the condition of an item, the more valuable it is.

C10 = N : Store Stock New
As new and unplayed (there are virtually no 78s that can categorically be claimed to be unplayed). C9 : N-
Nearly New, but has been played. No visible signs of wear or damage. C8 = E+
Plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of sleeves. C7 = E : Excellent
Still very shiny, near new looking, with no visible signs of wear, but a few inaudible scuffs and scratches.
C6 = E-
Still shiny but without the luster of a new record, few light scratches.
C5 = V+
V+ is an average condition 45 in which scuffs and general use has dulled the finish somewhat. Wear is moderate but playing is generally free from distortion. Surface noise not overly pronounced.

C4 = V : Very Good
Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive. C3 = V-
Quite playable still, but distortion and heavy greying in loud passages. Music remains loud in most passages. Surface noise and scratches well below music level.
C2 = G+
Grey throughout but still serviceable. Music begins to sound muffled. Heavy scratches.
C1 = G : Good
Quite seriously worn and scratched, but music level is still higher than surface noise.
G- ; F ; and P
The VJM system has these designations for records in extremely poor condition. We do not place these on the 10-point scale because records in this condition have little or no value. In cases where the record is extremely rare, it would be worth the C1 price.
GLOSSARY OF TERMS
sfc = surface lbl = label nap = not affecting play scr/scrs = scratch/scratches lc or lam  = lamination crack cr = crack gv/gvs= groove/grooves hlc/hc = hairline crack wol = writing on label sol = sticker onlabel fade = faded label eb = edge bite ec = edge chip ef =edge flake cvr = cover s = stereo rc= rim chip rf = rough;
aud/inaud = audible/inaudible
lt = light

Are old TV Guides Magazines worth anything?

TV Guide was one of the most widely circulated magazines of all time. As a result, they are very common. Most have little or no value, but there are valuable exceptions to this rule. Some issues with significant value typically have cover photos of famous movie or television stars, or covers of special interest.

TREASURE — iGuide's List of Most Valuable TV Guides

There are many other valuable to semi-valuable TV Guides besides those listed below. If you want to know if yours are valuable, you need an iGuide Appraisal Report April 3, 1953 — Volume 1 Number 1, the very first issue!
Sept. 25, 1953 — George Reeves of Adventures of Superman
July 17, 1954 — Roy Rogers of The Roy Rogers Show
October 23, 1954 — Walt Disney on Disneyland
September 8, 1956 — Elvis Presley, The Plain Truth About Elvis Presley
March 26, 1966 — Adam West of Batman
March 4, 1967 — William Shatner and Leonard Nimoy of Star Trek
March 26, 1966 — Adam West of Batman


If you have any of those listed above, it would be smart to get a free iGuide Appraisal Report

Get Appraisal Report

Too good to toss

Common issues from the 1950s, and certain issues from the 1960s and 1970s have some minor value, usually less than $10 retail and $4 wholesale in almost new condition.

Trash

The VAST majority of old TV Guide magazines can be bought in large lots on eBay for 50 cents to $1 each depending on age. Modern issues from the 1980s and up are almost worthless.

Condition is key

As with all collectibles, the condition of the magazine is very important. If it's in 'like new' condition, it is worth 10 times more than the same issue in heavily worn condition.

Summary

With the exception of certain special issues from the 1950s, 60s and 70s, there is very little demand for old TV Guide magazines.

How do I rate the condition of my comic books?


Comic books, like coins, stamps, sports cards, movie posters, and everything else that people collect, are valued according to condition. Because human beings prize things that glitter, the more like new the object is, the more collectors will pay for it. Seems simple enough, right? WRONG! Because arguing about condition actually means negotiating price, buyers and sellers often have a hard time agreeing on the grade of a book. But, fortunately there are standard terms that everyone agrees on (what those terms mean is another story). Sadly, it takes years of looking at thousands of variances of grade before you can truly become a knowledgeable grader. So how do you know what grade a comic book is in if you are new at making the grade? Let me suggest that you start simple and then focus on the final grade.

First let's look at some general terms that could be used to describe the condition of a comic book, then we'll cover some specialized terms that dealers and collectors use.


PERFECT


We all know what this is, it's a book in brand new condition. When you go to the newsstand and pick the best copy you can find, that's probably a PERFECT, like-new comic book (unless it's mangled on the newsstand). The term for a comic book in perfect condition is MINT. Although some dealers will try to convince you that 30 or 40 year old comics aren't graded as strictly as new comics, I wouldn't believe it if I were you. When it comes to MINT, mint is mint, period.

ABOVE AVERAGE


If someone bought a comic, read it once or twice, and then carefully filed it away, it is in ABOVE AVERAGE condition. We refer to comics in above average condition as VERY FINE (abbreviated VF).

AVERAGE


The term collectors use to describe a comic in AVERAGE condition is VERY GOOD (or VG for short). Since comics are supposed to be read and handled, books that have been read and handled are in average condition. Creased corners, little tears, stuff that you could expect from normal use is common in a VG condition book.

BELOW AVERAGE


Comics that you owned when you were six years old are probably in BELOW AVERAGE condition because you probably beat the @@#$!! out of them. And they look it! The comic is still complete with all pages but the cover might be loose or a piece might be missing from the corner. You know what I mean...ROUGH ROUGH! Collectors describe comics in below average condition as GOOD. Actually, there's nothing good about it other than the fact that you have a copy to keep until a better one comes along.

POOR


Better known by the technical term "swillage" first coined by Steve Geppi. A book that looks like it was rescued from the trash is in POOR condition. You know you have handled a poor condition book when you rush to wash your hands afterwards.

Now that you know the five basic ranges of condition a comic book can be in, it's much easier to focus in on exactly what the real grade is. Try it yourself. Take a stack of your books and grade them. Is the first one in the stack just like the day you bought it except for a tiny bend in the corner? Then it's not MINT, but you could certainly say it's ABOVE AVERAGE. Put it in the VF stack. Does the next one in the stack look read and re-read? Put it in the VG stack. Continue sorting the books in basic grades. When you are done, refer to the following grading descriptions. You can focus in on the actual grade by reading these fine-tuning grading descriptions. The one that sounds the closest to the grade of your book is the actual grade.

These are the terms comic book collectors use to describe condition. At conventions and your local comic book store you will see these grades and grade-codes used to indicate grade. Memorize them, learn what they mean, and then you can start making the right grade.

GRADING DEFINITIONS & TERMS


Comic book collectors have widely accepted a 10-point system for describing the grade of a comic book.

GEM MINT 10.0

Perfect. A very rare grade, even for brand new comics.

MINT 9.9


An almost perfect 9.9 on a 1-10 scale. A flawless copy in the same condition as the day it was printed. The MINT grade is practically non-existent in pre-1970 comics. Golden age comics in MINT condition are an extremely rare find and fetch huge premiums over average copies of the same comic. When grading a comic mint, no consideration should be given to the age of the book. No printing defects can appear on a MINT comic. The cover should have full original gloss, and appear bright, with sharp corners and no imperfections of any sort. Minute color variations may occur during printing, and are allowed in the MINT classification. The inside covers and all pages are creamy white and fresh. The binding (spine) is tight, flat, and clean without wear or stress lines. Not the slightest blemish can be detected around staples, along the binding and edges, or at corners. Arrival dates penciled (not inked) on the cover are usually acceptable as long as they are very small. When the surfaces of the front and back covers are held to the light, not the slightest wear, indentations, wrinkles or defects of any kind can be observed. As comics must be truly perfect to be in this grade, they are obviously extremely scarce and are seldom offered for sale.

NEAR MINT/MINT (NM/M 9.8)

Approaching the MINT range but with a very slight blemish of some sort.

NM+ 9.6


Top of the NM range.

NEAR MINT (NM 9.4)

9.4 on a 1-10 scale. A copy that is virtually MINT but for one or two very tiny imperfections. For example, a tiny (1/16th inch) edge tear is allowable in this category if no other imperfections are present. A very few tiny stress lines along the spine could be present. Pages and covers should be creamy to white, not yellow or brown. No color touch-ups, repair or restoration of any kind is allowed in this grade. This grade is very rare in books prior to 1970.

NM- 9.2


Bottom of the NM range.

VERY FINE/NEAR MINT (VF/NM 9.0)


9 on a 1-10 scale. Beautiful, glossy and excellent in every way with one minor imperfection keeping it out of the higher grades. One tiny corner crease of less that 1/8th inch length is allowed. A couple of tiny (1/16th inch) stress lines along the spine are acceptable if the appearance of the book is not gravely affected. Pages should be creamy white, not yellowed or tan. A common defect in this grade is a tiny spine tear at the upper or lower binding (spine) not greater then 1/16th of an inch in length. One or two tiny tears (1/16th inch) are permitted in this grade if the copy is otherwise flawless. An extremely tiny tear repair, color touch-up, unobtrusive arrival date erasure or other similar invisible alteration, on an otherwise near mint copy, is permitted in this grade.

VF+ 8.5


Top of the VF range.

VERY FINE (VF 8.0)


8 on a 1-10 scale. Superb. An outstanding copy in an unusual state of preservation. Clean and bright with sharp corners and pliant interior paper. Slight cover wear is present; possibly 5 or 6 tiny wrinkles or stress lines at the staples where the cover has been opened a few times; still clean and flat with 80 percent of cover gloss retained. Interior page quality should be creamy to white, not yellowish or brown. A few tiny color chips or imperfections could be present. A faint 1/4" corner crease on an otherwise exceptional copy could be present in this grade. Very minor professional restoration or repair is permitted in this grade if noted and described.

VF- 7.5


Bottom of the VF range.

FINE/VERY FINE (F/VF 7.0)


7 on a 1-10 scale. Above average. A clean, bright copy lacking the crispness associated with Very Fine. Pages can be slightly yellowed, not brown or brittle. Several tiny stress lines along the spine and cover can be expected. Several tiny color flakes are permitted. No subscription creases or spine roll allowed in this grade. Corners may be slightly rounded. Exceptional cover gloss remains (60 percent or more).

FN+ 6.5

Top of the FINE range.

FINE (FN 6.0)


6 on a 1-10 scale. Slightly better-than-average copy with obvious aging and diminishment, but still relatively flat, clean and glossy without subscription creases, writing on the cover (except possibly an arrival date), brown margins or tape repairs. Typical flaws include: light spine wear, minor surface wear, a light crease (1/4" in length), minor yellowing/tanning to interior pages. Still a bright copy with 50 per cent cover gloss. A few stress lines around the staples and along the spine are normal in this grade, but not more than 1/8" in length. One small edge chip or several tiny chips (such as Marvel chips) are permitted in this grade. One minor tear is allowed on an otherwise FVF copy. A very minor spine roll on an otherwise clean and uncreased copy is permitted in this grade.

F- 5.5

Bottom of the FINE range.

VERY GOOD/FINE (VG/F 5.0)


5 on a 1-10 scale. Better than VG+, approaching FINE but not quite sharp enough to merit the higher grade. Frequently, a FINE copy with an unusual flaw is lowered to VG/F.

VG+ 4.5

Top of the VG range. Slightly below a VG/F copy.

VERY GOOD (VG 4.0)


4 on a 1-10 scale. Average. Ordinary signs of use. Appears used, but not abused. The common state of preservation of a comic book that has been used as intended. Significant diminishment of original cover glossiness. Noticeable discoloration or fading could be present. One or two minor markings on covers is permitted. Minor spine rolling may have occurred. Lightly creased along extremities; a faint subscription crease is allowed. The covers could have a minor tear or crease where a corner was folded under. The centerfold could be detached or loose from the staples. A small chip or piece from the covers, or a small piece from an interior page that does not affect the live area (artwork area), is acceptable. Pages and inside covers could be tannish or yellowed, but not brittle. A small tape repair could be present in this grade. Still, the appearance of the comic is such that many collectors find the book acceptable until a better copy can be located.

VG- 3.5

Bottom of the VG range.

GOOD/VERY GOOD (G/VG 3.0)


3 on a 1-10 scale. Approaching VERY GOOD but with too many signs of abuse to be a solid VERY GOOD. G/VG and G+ represent a very slight variation in grade.

G+ 2.5

Top of the GOOD range.

GOOD (G 2.0)


2 on a 1-10 scale. Below average. A worn copy but complete with all pages including centerfold, which may or may not be loose. Creased, scuffed, covers lack gloss, faded. Pages could be brown and brittle. Although a copy in this grade could have white pages and covers, the accumulation of defects such as creases, tears, or chips and general wear prevent this book from any higher classification.

G- 1.8

Bottom of the GOOD range.

FR/G 1.5

Approaching GOOD, with too much wear to be a solid GOOD.

FR+ 1.25

Heavily worn but approaching the good classification.

FAIR (FR 1.0)


0.5 on a 1-10 scale. Used and abused. Extremely worn, creased, and dirty, with possibly loose pages or significant tears, but still complete. Possibly small pieces missing from the cover, inked markings, tape, etc.

POOR (PR .5)

0 on a 1-10 scale. A terrible copy. Damaged; extremely worn; dirty or otherwise unsuited for collection purposes. Pages could be missing. Could be coverless if noted.

How do I rate the condition of my old book?

The descriptions of book grades that follow are intended to outline the relative condition of books in various states of preservation. These standards are based on trade practices recommended by The American Book Association to avoid misunderstandings in the buy, selling, and advertising of books.

BOOK GRADES

Grade of a book is usually shown in the form of VG/VG, Fine/Good, VG/--, etc. The first part is the condition of the book, the second is the condition of the dust jacket. If a "--" is present, it usually means that the dustjacket is not present.

C10 New. The finest quality available. A new book is unread, in print and in perfect condition with no missing or damaged pages.

C9 As New (AN). To be used only when the book is in the same immaculate condition to which it was published. There can be no defects, no missing pages, no library stamps, etc., and the dustjacket (if issued) must be perfect, without any tears.

C8 Fine (F or FN). Approaches the condition of As New, but without being crisp. For the use of the term Fine, there must also be no defects, etc., and if the jacket has a small tear, or other defect, or looks worn, this should be noted.

C7 Near Fine (NF ). Approaches the condition of Fine, but without being quite as clean and crisp, with perhaps the slightest shelf wear. For the use of the term Near Fine, there must be no defects, etc., and if the jacket has a small tear, or other defect, or looks worn, this should be noted.

C6 Very Good + (VG+). Describes a book that does show some small signs of wear - but no tears - on either binding or paper. Any defects must be noted.

C5 Very Good (VG). Describes a book that does show some small signs of wear - but no tears - on either binding or paper. Any defects must be noted.

C3 Good (G). Describes the average used worn book that has all pages or leaves present. Any defects must be noted.

C2 Fair (FR). Worn book that has complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, jacket (if any), etc., may also be worn. All defects must be noted.

C1 Poor (P). Describes a book that is sufficiently worn, to the point that its only merit is as a Reading Copy because it does have the complete text, which must be legible. Any missing maps or plates should still be noted. This copy may be soiled, scuffed, stained or spotted and may have loose joints, hinges, pages, etc.

BOOK SIZES
4to- A book that is up to 12" tall.
8vo - A book that is up to 9 ¾" tall.
12mo - A book that is up to 7 ¾" tall.
16mo - A book that is up to 6 ¾" tall.
24mo - A book that is up to 5 ¾" tall.
32mo - A book that is up to 5" tall.
48mo - A book that is up to 4" tall.
64mo - A book that is up to 3" tall.
Folio - A book that is up to 15" tall.
Elephant Folio - A book that is up to 23" tall.
Atlas Folio - A book that is up to 25" tall.
Double Elephant Folio - A book that is up to 50" tall.



Are first edition books worth anything?

No, not all first edition books have value. In fact, the vast majority, 95% or more, of all first edition books have very little value. Only first editions by certain authors have any significant value.

What are the best ways to sell Hamilton Mint silver collections?

With the value of precious metals such as silver and gold rising, many people are wondering if now might be the best time to sell Hamilton Mint silver sets. The answer is YES, but with caution.

You might sell locally, but you will not get top dollar from a local gold buyer or coin shop. You could try to sell on eBay, but that's a hassle and after paying fees and commission you will end up with less than if you had simply sold directly to an interernet buyer.

That leaves you with finding an internet buyer.  You should look for a Internet buyer who will pay the highest percentage of the precious metal value, obviously.  But you should also look for an Internet buyer who is a member of the Better Business Bureau online reliability program. If the company is a member of their local Chamber of Commerce, that’s even better. And, of course, the company should have a valid business license in the county in which they operate. If the Internet company is not licensed, do not deal with them! You certainly want to sell for the highest possible price, but you also want to avoid being ripped off in the process.

If you look locally for where to sell you may find a coin shop or pawn shop who will offer to buy, but compare their offer with others before accepting. Local buyers pay as little as 40% of the true value when they buy your Hamilton Mint sets. A top buyer will pay 75% to 85%.  The difference could be hundreds or thousands of dollars.

Look for an Internet buyer that provides fast, friendly communications and no-obligation bids. A professional buyer will reply to your emails quickly and treat you with respect. If not, go elsewhere. Any reputable buyer will have years of experience and will be happy to help you sell.

Of course, a business must make a profit to remain in business, but a solid company knows that competition is intense and they must pay a fair price in order to remain successful.

A good buyer will provide a price quote in advance, without asking you to ship first.  If a buyer cannot provide an upfront quote, go elsewhere. Do not send your items on approval unless you have thoroughly checked references. By having an upfront bid, you can decide to sell or not, based on the price offered. This is much better than sending first and“hoping” for a good price, which is the way many Internet buyers operate.

In summary, Do your homework, deal with a reputable firm, and you will ensure a successful transaction.

Are Hamilton Mint Collections worth anything?

Many folks have collections of Hamilton Mint collectibles, either from collecting themselves or through inheritance. The burning question in the minds of many  is: "Do HamiltonMint collectibles have value?" The answer, like so many in life, is "It depends."

The HamiltonMint was one of the largest issue of limited edition collectibles in the world, but went out of business in the late 1970s, after a bankruptcy.

HamiltonMint issued collectibles in many categories, including dolls, coins, ingots, plates, knives, die-car cars, jewelry and much more. 

The issue price of HamiltonMint editions ranged from just a few dollars to hundreds of dollars each. Did these items hold their value, or go up?

The answer is that many are worth much more than original issue price, while others are not. Those that have enjoyed significant price appreciation are those sets made of precious metals such as sterling silver or gold. Otherwise, for items like dolls, plates, and knives, prices have not held, and in fact many of these items can be bought for a fraction of their original issue price.

So, the answer to the question posed at the begging of this article is that those collections made of silver or gold have good value today, often more than original issue price, while those not made of precious metals can be bought for a fraction of original issue price.

The moral of this story is "You win some, you lose some."

What is STERLING silver? Is it the same as PURE silver or 999 silver?

Sterling silver is not pure. It is 92.5% silver and 7.5% copper or other base metal. Pure silver is 100% silver (or 99.9% which is close enough to pure). Many new collectors think sterling silver is the highest and greatest form of silver, but it is not. It is only 92.5% pure.

Also, little known is the fact that, by law, an error margin of 10% is allowed in the sterling alloy, so that quite often, when tested, a piece marked STERLING may actually only test our as 91% pure.

Which states in the USA have deregulated electricity markets?

Deregulation of the energy markets is defined as the removal or simplification of government rules and regulations that constrain the operation of market forces.  Deregulation of natural gas and electric in some states occurred when the Federal Energy Regulation Commission (FERC) ruled that it should limit its authority to wholesale transactions. This decision made it possible the way for individual states to determine if and how they should allow retail price competition.

Deregulation does not mean elimination of laws against fraud, but eliminates or reduces government control of how business is done, thereby moving toward a free market.

In states with deregulated retail markets, individual consumers may have the ability to choose their provider in certain circumstances.

Some states have deregulated the electricity market under their control. Here is a list of those states as of August, 2012.


Which of the branch mints was the first to coin U.S. cents?

The San Francisco Mint began striking bronze Indian Head cents in 1908.

How may types of small cents are there and what years were they minted?

Flying Eagle  1857-1858
Indian Head  (Copper Nickel, Laurel Reverse)  1859
Indian Head (Copper Nickel, Oak Reverse)  1859
Indian Head  (Bronze)  1860-1864
Indian Head  1864-1909
Lincoln Head  (Wheat Reverse)   1909-1942, 1946-1958
Lincoln Head  (Zinc Plated Steel)  1943
Lincoln Head  (Shell Case Copper)  1944-1945
Lincoln Head  (Memorial Reverse)  1959 to date
Lincoln Head  (Copper Coated Zinc, Memorial Reverse)  1982-2008
Lincoln Head  (Shield Reverse)  2009 to date

Yes or no: were proof cents struck on both bronze and copper-plated zinc planchets in 1982?

No, all 1982 proof cents were struck on bronze planchets. Beginning in 1983 all proof cents were struck on copper plated zinc planchets.

How should I care for my Sterling Silver flatware and holloware?

Daily use enhances the beauty of sterling silver, adding mellowness and depth of color, so no one should hesitate to use it all the time. The millions of tiny scratches on the surface that come with constant use give color or patina that adds to the finish. All silver should be washed as soon after  use as possible. Use ordinary caution so as not to crowd too many pieces close together. Wash in clear sudsy water and rinse thoroughly in clear hot water. It is important to dry each piece well even when washed in the automatic dishwasher. Should spots appear after the use of certain foods like eggs, salt and salad dressing, they may be easily eliminated with silver polish during the washing process.

About once a month should suffice for over-all polishing. Use a reliable polish free of grit, and a clean soft cloth. Lengthwise stroke on flatware produce the finest luster; on holloware, follow the contours or shape of the piece. Be sure to rotate the usage of all pieces so that all acquire the same patina. The ideal container for storing silver is a tightly closed chest that has individual places for each piece. Rolls for flatware and bags for holloware made of tarnish-resistant cloth are also good for sterling silver.

Be sure to keep chest well dusted and clean. Stray particles of salt in the case will cause the silver to tarnish and sometimes even to spot.

Sterling Silver : Table Placement

Table Placement: ( a few simple rules) All flat silver is laid in the order of use, starting with the piece farthest from the plate on each side. Knives are placed with the cutting edge towards the plate; forks with times pointing up; spoons hollow side up. 
Not more than three knives and forks (not counting the oyster fork and the butter spreader) may be laid at one place setting. Additional silver is placed when required. More often than not the cover does not require this amount of silver for the family and informal meal; the usual placing being knife, soup spoon and tea spoon placed at the right of the plate with the salad fork and dinner fork at the left. For the salad course and many entrees, the fork is all that is required, therefore, omit the corresponding knife. 
The oyster fork may be placed at the extreme right and parallel with the soup or bouillon spoon. The butter spreader is placed across the rim of the bread and butter plate with the handle to the right. 
At breakfast only the pieces needed are placed on the table following the above placement.
For luncheon only enough flat silver to carry through the salad course is laid with the settings. Dessert and coffee silver are provided with those courses. 

Sterling Silver Glossary: chasing

Chasing: Decoration done by hand with small tools and punches forced into the metal with tappings by a hammer. When flowers, scrolls, etc. are simply impressed into the flat surface it is called flat chasing.

Sterling Silver Glossary: Trifle Pewter

Trifle Pewter: Sixty percent tin and 40 percent lead. Of a darker color and softer than better grades of pewter, it was short lived. The alloy was altered to 83 parts tine and 17 parts antimony and was made into spoons, saltshakers, buttons and similar articles which could not be finished on a lathe. Workers in this alloy were called "triflers."

Sterling Silver Glossary: Vermeil

Vermeil: Gold plating process developed in France in the mid 1700's. France banned production of vermeil early in the 19th century because the process involved the use of mercury. Present day vermeil is produced by a safe electrolytic process.

Sterling Silver Glossary: Gadroon

Gadroon: A border ornament radiating lobes of curved or straight form. Used on rims and feet of cups, plates and other vessels from late 17th century

Sterling Silver Glossary: Gadroon

Gadroon: A border ornament radiating lobes of curved or straight form. Used on rims and feet of cups, plates and other vessels from late 17th century

Sterling Silver Glossary: Holloware

Holloware: A general term for articles in the form of hollow vessels, such as mugs, ewers, teapots, coffeepots, bowls and pitchers; also includes trays, waiters, meat and chop plates and flat sandwich trays. 
Holloware Pewter: Eighty percent tin and 20 percent lead, used for making teapots, tankards, coffee pots and liquid measures.

Sterling Silver Glossary:Sterling Silver

Sterling Silver: 925/1000 fine, with 75/1000 of added metal, usually copper, to give it strength and stiffness. This is the standard set by the Untied States Government in the Stamping Act of 1906, and any article stamped "sterling" is of assured quality. It appears on Baltimore silver, 1800-1814, and after 1860, elsewhere. 

Sterling Silver Glossary:Stamping, Trademarks and Stock Numbers

Stamping Trademarks and Stock Numbers: As early as 1867, the Meriden Britannia Co. had a system of stamping nickel silver, silver soldered  holloware with a cipher preceding the number, and by 1893, nickel silver holloware with white metal mounts had as a part of the number two ciphers. That is, on a waiter with white metal, 00256, etc., would be stamped. This made it quickly understood by the number whether the piece was nickel silver, silversoldered or nickel silver with white metal mounts.

Sterling Silver Glossary: Sheffield Plate

Sheffield Plate:True Sheffield plate was produced by fusing, with intense heat, a thin sheet of silver to one or both sides of a thick sheet of copper. The composite metal was then rolled down to the proper thickness for fabrication. Invented by Thomas Boulsover about 1743. Frequently called "old Sheffield Plate" to distinguish it from electroplate.

Sterling Silver Glossary: Repousse

Repousse: Relief ornament hammered from the under or inner side of the metal. Usually given added sharpness of form by surface chasing of detail and outline. Has been practiced from early times. Introduced to this country by Samuel Kirk in 1828.

R Blackington and Co. Sterling Silverware Company - A Brief History

Founded in  1862 by Walter Ballou and Roswell Blackinton in North Attleboro, Massachusetts, and was owned and operated by members of the same two families for many years. The original trademark was used until c. 1900. Their products have consisted mostly of sterling silver and 14 karat gold novelites, flatware, holloware and dresserware, with a small amount of costume jewelry. Bought by Wells, Inc, Attleboro, Mass. , June 1967. About 1965-66 their "Marie Louise" flatware pattern was sold to the U.S. State Department for use in all United States embassies throughout the world. 

Sterling Silver Glossary: Gold Aluminum

Gold Aluminum: A solid alloy used for flatware made by Holmes & Edwards Silver Co., Bridgeport, Connecticut. Marked with a trademark WALDO HE preceded by a symbol used by the Waldo Foundry which probably made the metal. Flatware made only in " Rialto" pattern which was also made in silverplate. 

Sterling Silver Glossary: Foreign Silver

Foreign Silver: Other than English sterling, is sometimes of uncertain silver content, in some instances running considerably below the coin standard. The fineness is often stamped on the article. In the Scandinavian countries and Germany solid silver tableware 830/1000 fine has been standardized, and the stamp "830" signifies this silver content. 

Sterling Silver Glossary: Electotype

Electrotype: Copy of art object produced by electroplating a wax impression. Much used in the nineteenth century to reproduce antique objects. Now employed in the production of facsimile plates for use in printing.  

Sterling Silver Glossary: Burnishing

Burnishing: Electro deposits consist of a multitude of small crystals, with intervals between them, and with facets reflecting the light in every direction. The deposited metal is hardened by burnishing and forcing into the pores of the underlying metal. The durability is thus increased to such an extent that, with the same amount of silver, a burnished article will last twice as long as one which has not been so treated. 

Sterling Silver Glossary: Argentine

Argentine: An alloy of tin and antimony used as a base for plating; nickel silver; German silver; also "British plate"; known in China as Paktong. Bradbury says, "Credit (is) due to W. Hutton & Sons of Sheffield for being the first firm to manufacture spoons and forks from the newly-invented metal called Argentine, in the year 1833.

Sterling Silver Glossary: Aluminum silver

Aluminum silver: A composition of aluminum and silver which is much harder than aluminum. It takes a high polish. Air does not affect the color. The proportion of ingredients varies. One of three parts silver and ninety-seven parts aluminum makes an alloy similar in appearance to pure aluminum but is much harder and takes a better polish.

Sterling Silver Glossary: Alaska Silver

Alaska silver: Base metal of secret composition. According to contemporary ads, "its purpose is to imitate solid silver at a fraction of the cost." It is subject to damage if left 12 hours or more in acid foods, fats or grease. It is also a trade name used on silver-plated flatware sold by Sears Roebuck & Co., c. 1908. In the 1908 catalog was the statement that Alaska Metal was their special formula of composition metal made to imitate solid silver. Contains no silver.

Sterling Silver Glossary: Britannia

Britannia: A silver-white alloy composed largely of tin hardened with copper and antimony. Closely akin to pewter, yet differing in the higher proportion of tin, the addition of antimony and the omission of lead, resulting in a more silvery appearance than is possible with the pewter mixture. It often contains also a small quantity of zinc and bismuth. A common proportion is 140 parts of tin, three of copper and ten of antimony.

Wood & Hughes..: Sterling Silverware Company - A Brief History

Wood and Hughes began in 1833 with a partnership between Jacob Wood, William Gale and Jasper Hughes. Both Wood and Hughes had been apprentices under Gale. Patterns: Gadroon, Louis XV, Byzantine, and Fiddle.

Whiting Manufacturing Co..: Sterling Silverware Company - A Brief History

Whiting Manufacturing Co. began in North Attleboro, Massachusetts, in 1866. After a fire destroyed the plant, operations were moved to New York City in 1875. Gorham bought the company in  1924, and in 1926 moved the operations to Providence, Rhode Island. Their patterns: Adam, Alhambra, Antique Lily-Engraved, Arabesque, Armor, Bead, Berry, Colonial Engraved, Duke of York, Egyptian, Heraldic, Hyperion, Imperial Queen, Japanese, King Albert, King Edward, Lady Baltimore, Lily, Lily of the Valley, Louis XV, Madam Jumel, Madam Morris, Mandarin, Old King, Pompadour, Radiant, Stratford, and Violet.

Westmorland.: Sterling Silverware Company - A Brief History

Westmorland Sterling Co.  of Wallingford, Connecticut began selling pieces in five patterns produced by Wallace Silversmiths in 1940. Its trademark was a ram's head in profile in a box. Their patterns: Enchanting Orchid, George & Martha Washington, John & Priscilla, Lady Hilton, and  Milburn Rose. 

Weidlich Bros Mfg Co..: Sterling Silverware Company - A Brief History

Weidlich Bros. Mfg. Co. sterling silver was produced in Bridgeport, Connecticut between 1901 and 1950. Its marks on sterling included AVON. Their patterns: Ancestry, Lady Sterling, and Virginia Sterling.

Watson Co. Sterling Silverware Company - A Brief History

Watson Co. began producing silver items in Attleboro, Massachusetts, in the late 1890's and produced dozens of flatware patterns and hundreds of style of souvenir spoons. Their patterns: Colonial Fiddle, Foxhall, George II, George II Rex, John Alden, Juliana, Lamerie, Lily Lotus, Martha Washington, Meadow Rose, Mount Vernon, Navarre, Orchid, Wentworth,  and Windsor Rose.


Wallace Silversmiths.: Sterling Silverware Company - A Brief History

Wallace Silversmiths Inc. began producing sterling flatware in Wallingford, Connecticut in 1871. Company founder Robert Wallace was apprenticed in 1831, when he was 16, to a maker of Britannia metal spoons. Two years later, he rented an old gristmill, powered by Connecticut's Quinnipiac River, and started to make spoons.
In 1835, Wallace learned of a new metal that had been developed in Germany. He traveled to New York City and purchased the formula from a German chemist for $20., then converted his gristmill to produce nickel-based silver spoons.
Under the name R. Wallace & Sons Mfg. Co., the firm introduced the sterling patterns Hawthorne, The Crown, and St. Leon. Designer William Warren's "three-dimensional" patterns included Sir Christopher and Grande Baroque. Wallace eventually acquired the Watson Co., Tuttle Silver Co., and Smith & Smith. Silver patterns: America, Carnation, Carthage, Corinthian, Dauphine, Dawn Mist, Debutante, Discovery, Eton, Evening Mist, Feliciana, Figured Shell, Georgian Colonial, Grand Colonial, Grande Baroque, Hampton, Irian, Juliet, King Christian, Kings, La Reine, Lamerie, Larkspur, Lotus, Louvre, Lucerne, Madison, Meadow Rose, Melanie, Michele, Monterey, My Love, Nile, Normandie, Orange Blossom, Orchid Elegance, Penrose, Peony, Princess Anne, Princess Mary,Puritan, Putnam, Renaissance, Rheims, Rhythm, Romance of the Sea, Rose, Rose Point, Royal Rose, Royal Satin, Saxon, Shenandoah, Silver Swirl, Sir Christopher, Spanish Lace, Sterling Rose, Stradivari, Violet, Waltz of Spring, Washington, Waverly, Windsor Rose, Windsor/Victoria, and Wishing Star.





A Brief Knowledge Panel about the Unger Bros. Sterling Silverware Company

Unger Bros was started in the 1870's in Newark, New Jersey and made silver items until 1914. The firm's flatware patterns were also featured on other items, including desk sets, ashtrays, and letter openers. Marks on flatware included the capital letter U, and an entwined UB in a circle plus Sterling 935 fine. Patterns: Cupid Sunbeam, Cupid's Nosegay, and Douvaine.

How To Sell Old Magazines : Make Your List, Check It Twice

In order to make a "sight unseen" bid for your old magazines, a magazine buyer needs to know certain key information. YOU SHOULD INCLUDE THIS INFO IN YOUR INITIAL LIST! If you are new to old magazine selling, building the list yourself can be a chore, but this article covers the main points and hopefully makes it a bit easier. Before you start off trying to sell your old magazines, you should make an inventory list. It will be the first thing any magazine buyer will ask for. 

IMPORTANT: YOU SHOULD INCLUDE THE FOLLOWING INFO IN YOUR LIST!

TITLE (always on the front cover; example: NATIONAL GEOGRAPHIC) 
ISSUE DATE (always on the front cover, first page or inside front cover; example: June, 1947 issue)
CONDITION (used, torn, like new, VG, NM etc., just a best guess, even if you only say USED or LIKE NEW) 

Towle Silversmiths: Sterling Silverware Company - A Brief History

Towle Silversmiths of Newburyport, Massachusettsw began in 1857 as Towle & Jones, but the company's heritage goes back to the 17th century. In 1679, William Moulton II left Hampton, New Hampshire and settled at Newbury (later Newburyport) where he became a trader and may have done some silversmithing.

His Son, Joseph, is generally recognized as the first silversmith of the Moulton line, which is said to have the longest continuous span of silversmithing of any American family. From father to son, this family produced silversmiths for two hundred years, more of its members entering the silver industry than from any other family in early American history. Even one woman in the Moulton clan--Lydia, daughter of William III--- did some silversmithing. Although most of the Moultons carried on their craft in Newburyport, some went to other communities where they established themselves as silversmiths.

The third William moved in a covered wagon to Marietta, Ohio, carrying his silversmith's tools with him. His son, Joseph, had four sons, all of whom were silversmiths. Ebenezer moved to Boston and Enoch to Portland, Maine, each of them continuing their crafts in their respective places. Abel inherited his father's business in Newburyport and the fourth William established his own shop in the same place.

By this time, Anthony F. Towle went from Hampton to Newburyport where he became apprenticed to the fourth William Moulton. Anthony was a descendent of Philip Towle and the son of Jabez, who had purchased the General Moulton house in Hampton. Later Anthony joined with William P. Jones to establish a silversmith partnership. These two subsequently purchased the fourth Joseph Moulton's business and formed the firm of Towle and Jones in 1857.

From this enterprise developed the silversmith establishment today known as The Towle Silversmiths. The company mark of a lion mounted on a script letter "T" was supposedly based on the family coat of arms. Silver patterns are: Aristocrat, Awakening, Benjamin Franklin, Candlelight, Canterbury, Cascade, Charlemagne, Chased Diana, Chippendale, Colonial Thread, Contessina, Contour, Country Manor, Craftsman, Debussy, D'Orleans, Dorothy Manners, Drury lane, El Grandee, Esplanade, Federal Cotillion, Fiddle Thread, Fortana, French Colonial, French Provincial, Georgian, King Richard, Lady Constance, Lady Diana, Lady Mary, Lafayette, Laureate, Legato, Louis XIV, Madeira, Marie Louise, Mary Chilton, Meadow Song, Newport Shell, Novantique, Old Brocade, Old Colonial, Old English, Old Lace, Old Master,  Old Mirror, Old Newbury/Newbury, Paul Revere, Peachtree Manor, Petit Point, Pomona, R.S. V. P., Rambler Rose, Rose Solitaire, Royal Windsor, Scroll & Bead, Sculptured Rose, Seville, Silver Flutes, Silver Plumes, Silver Spray, Southwind, Spanish Provincial, Symphony, Vespera, Virginia Carvel,  and Virginia Lee.







Dominick & Haff: Sterling Silverware Company - A Brief History

Dominick and Haff began in New York in  1872, and earned a reputation as an innovative designer of silver wares. The firm's success led it to acquire the assets of other manufacturers, including the dies of Adams & Shaw in  1880. The company was sold to Reed & Barton in 1928. Some silver patterns: Century, Charles II, Chippendale, Contempora, King, La Salle, Labors of Cupid, Marie Antoinette, Mazarin, New King, No. 10, Old English Antique, Pointed Antique, Queen Anne-Plain, Renaissance, Rococo, Victoria, and Virginia

Concord Silver Co: Sterling Silverware Company - A Brief History

Concord Silver Co. began in 1925 in Concord, New Hampshire. It went into bankruptcy and was reorganized as Concord Silversmiths Ltd. in 1939. Silver production was halted in 1942. Crown Silver Co later purchased Concord's dies.  Silver pattern: Concord.

Birks: Sterling Silverware Company - A Brief History

Henry Birks & Co. was established in Montreal, Quebec, in 1879, and became Henry Birks & Sons in 1893. It acquired Gorham Co. of Canada Ltd. in 1907. The company used date letters as early as 1898, and later adopted hallmarks, which covered the years 1904 to 1962. Some silver patterns: Chantilly, George II Plain, Louis XV, and Old English.


Amston Silver Co: Sterling Silverware Company - A Brief History

Based in Meriden, Connecticut, Amston Silver Co. Inc. went out of business in the 1960's, and its patterns were acquired bay Crown Silver Co. They had the following siilver patterns : Athene, Champlain,and  Ecstasy


Alvin Corp: Sterling Silverware Company - A Brief History

Alvin Corp Manufacturing Co. was founded in 1886 in Irvington, New Jersey. It became Alvin Silver Co. in  1919. The Gorham Co bought most of the  firm's assets in 1928 and changed the name to Alvin Corp. Company marks include an ornate capital A flanked by a winged dragon; they also produced a line called Lullaby Sterling. Some pattern names include: Apollo, Avila, Bridal Bouquet, Bridal Rose,  Chapel Bells, Chased Romantique, Chateau Rose, Chippendale-Old, Della Robbia, Eternal Rose, Fleur de Lis, Florence Nightingale, Florentine, Francis I, French Scroll, Gainsborough, Hamilton, Hampton, Majestic, Maryland, Melrose, Miss Alvin, Morning Glory, Orange Blossom-Old, Orange Blossom-New, Pirouette, Prince Eugene, Raleigh, Raphael, Richmond, Romantique, Rosecrest, Southern Charm, Spring Bud,, Vivaldi, and William Penn       



Are Franklin Mint collectibles worth anything?

Many folks have collections of Franklin Mint collectibles, either from collecting themselves or through inheritance. The burning question in the minds of many is: Do Franklin Mint collectibles have value The answer is —like so many answers in life— It depends.

The Franklin Mint was perhaps the largest issue of limited edition collectibles in the world, and is still in business today, albeit after a bankruptcy reorganization in the early 2000s.

Franklin Mint issued collectibles in many categories, including dolls, coins, ingots, plates, knives, die-car cars, jewelry and much more. At one point, it was the world's largest private mint, and minted the coinage of many sovereign nations.

The issue price of Franklin Mint editions ranged from just a few dollars to hundreds of dollars each. Did these items hold their value, or go up?

The answer is that many are worth much more than original issue price, while others are not. Those that have enjoyed significant price appreciation are those sets made of precious metals such as sterling silver or gold. Otherwise, for items like dolls, plates, and knives, prices have not held, and in fact many of these items can be bought for a fraction of their original issue price.

So, the answer to the question posed at the beginning of this article is that those collections made of silver or gold have good value today, often more than original issue price, while those not made of precious metals can be bought for a fraction of original issue price.

The moral of this story is 'You win some, you lose some.'

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

Value of Fangoria Magazines (1979-Today) - Trash or Treasure?

Fangoria Magazine volume 1 number 1 hit the stands in 1979, and is still being published today.

Fangoria back issues are greatly influenced by Fangoria's back-issue department. Many back issues are available directly through Fangoria at very reasonable prices; however, when an issue is no longer available through Fangoria, the value on that particular issue can increase considerably. In come cases, if a collector shops around or attends conventions, copies can be purchased for less than $1 each.

Fangoria is collected both as movie memorabilia as well as science fiction memorabilia.  Issues vary in value from $2 - $20 depending on issue and condition.

I recently found a naturally dark (not tarnished) Jefferson nickel. What caused the unusual color? Is it valuable?

Off-color Jefferson nickels are not rare, and have been seen in hues ranging from smoky blue through deep purple to black. The natural discoloration is caused by an incorrect alloy mix containing significantly higher amounts of copper. Some collectors like these, as some collectors prefer toned proof coins, and will pay a small premium for them. Usually not, though.

What are the rules for buying sterling silver?

Remember the rules: Rule #1. If it ain't stamped STERLING or 925, it ain't STERLING Rule #2. Silverware sets will have partial sterling pieces. If the forks are stamped STERLING, the other pieces such as dinner knives in the same set are STERLING HANDLES, even if they are not marked. You pay for 15 grams of sterling for dinner knives, even if they weigh 30 grams, because they are mostly stainless steel blades. Rule #3. MOST IMPORTANT RULE: if you are not CERTAIN, DON'T BUY IT!

Is it true the Jefferson nickel was designed in open competition outside the Mint?

The design for the Jefferson nickel originated from a completely open competition for a $1000 prize. The winning design was submitted by Felix Schlag, a rather obscure sculptor at the time. His initials "FS" were added below the bust beginning in 1966.

Coin Collector's Q & A: I have a 1944 silver nickel without a mint mark. Is it valuable?

It is a counterfeit, thought to have originated in New Jersey. The counterfeiter evidently prepared his mold from coins of two different dates, using the reverse of a prewar nickel struck at the Philadelphia Mint, thus producing a passable copy of a nonexistent coin.

(Thanks to Steve Frank for the following information)
Wartime nickels, dated 1942-1945, consist of 2 types, Type 1 and Type 2. This is because the federal government decided to change the composition, as nickel was needed in the war effort. The first type, Type 1, were minted through the first part of 1942, and look the same as earlier nickels, and having the same metal composition, the intrinsic value is nil. There is NO mintmark above Monticello on the reverse of Type 1 wartime nickels.

Type 2 wartime nickels were minted beginning in the 2nd part of 1942, and continued through the end of 1945. These contain 35% silver, and NO nickel at all. Type 2 wartime nickels have an intrinsic value based on the current silver price, so even worn examples will be worth approximately 90 cents when silver spot is around $17.

To tell the difference, you must look at the reverse. An oversized mintmark will appear above Monticello on the Type 2 35% silver pieces. The mintmark appearing above Monticello on Type 2 Wartime Nickels can be a “P” (Philadelphia), “D” (Denver), or “S” (San Francisco). This was the first time that the P mintmark was ever used on a coin. Previously, the absence of a mintmark identified a coin as having been minted in Philadelphia. The P and D mintmarks were used in 1942, 1943 and 1944, while P, D and S were used in 1945.

Your 1944 nickel is a “Contemporary Counterfeit”, sometimes called a “Circulating Counterfeit”. These were made by unscrupulous individuals to circulate “Contemporaneously” alongside of genuine pieces as current money. These were NOT made to fool collectors, and are NOT the modern copies we have unfortunately seen become so prevalent in this great hobby.

Although there may have been others, the most famous counterfeit wartime nickels were made by Francis LeRoy Henning in New Jersey. He was caught when he used an earlier reverse to counterfeit 1944 nickels, so no large mintmark is found over Monticello!

There is a very dedicated group of collectors for these, and other old forgeries, and the price of Henning Nickels has varied over the years, with current pricing being around $75, but we have seen them sell for between $60 to $100+.

What is a silver nickel?

The term is applied to the wartime five-cent piece (1942-1945) composted of 56% copper, 35% silver and 9% manganese. Because nickel imparts great strength and corrosion resistance to steel, and because the United States must import most of its nickel, it was decided to reserve the stockpile of that metal normally employed in the production of five-cent pieces for the use of the war industry. To indicate the change of alloy, the mint mark was made larger and placed above the dome of the Monticello, and for the first time the nations's coinage history, the letter "P" was used to designate domestic coins struck at the Philadelphia Mint.

Coin Collector's Dictionary - A Glossary of Terms

Alloy - Coin metal consisting of two or more metals which are melted and mixed together. Example --- the 5 cent nickel is an alloy consisting of 95% copper and 5% nickel.

Alteration -
An illegally changed coin feature (such as date or Mint mark) to make it appear like a more valuable coin. Example --- the 1922 penny is worth 30 times more with the Mint mark "D" than with it. Many 1922-D coins have been unethically altered to remove the Mint mark "D" hoping to sell it to an unknowing buyer.

ANA -
Abbreviation for American Numismatics Association, established in 1891. Largest organization of coin collectors in the world.

Annealing -
The manufacturing process of heating the coin metal (planchet) just before striking. This softens the metal enough to receive the impression.

ANA -
American Numismatic Society.

Bag Mark -
A scratch or ding caused by coins rubbing against each other in a Mint bag. Very common, especially with large heavy silver coins.

Bit -
An old Mexican coin circulated in America during the 1800's. This coin was sometimes divided into sections. A "bit" was one eighth of the coin, two "bits" was one quarter of the coin, therefor USA quarter dollars began to be called "two bits."

Blackbook -
Pocket size price guide and reference book of USA coins. Updated and published annually since 1962.

Blanking -
The manufacturing process of passing the coin metal strip through a punch press to "bang" out the round metal coin blanks (planchets).

Blemish -
A minor nick, mark, dent or discoloration on the coin's surface.

Bluebook -
Handbook of USA coins published annually since 1941. Gives average prices dealers pay for coins.

Broadstrike -
A coin with a larger than normal diameter. This is caused by the coin being struck with the protective collar in place.

Brockage -
A coin error in which one side of the coin has a "mirror image" of the other side. This is caused by the failure of the coin to be automatically ejected from the holder on the coin press.

Bronze -
An alloy metal consisting of copper and tin. Zinc is sometimes included.

Bullion -
Coins produced of high purity metal, such as 999 fine silver or gold coins. Also, blocks of pure gold or silver.

Cast Coin -
A coin manufactured by a process of pouring metal into a mold, rather than die striking.

Quarter Eagle
- A USA $2.50 face value gold coin, minted from 1796 to 1929.

Redbook - A guidebook of USA coins published and updated annually since 1947, Gives average selling prices by dealers for USA coins.

Reeded Edge - Grooved lines that run vertically around the coin. Used on all modern USA coins from dime to dollar to discourage dishonest practice of clipping off part of the metal.


International Sterling Silverware Company - A Brief History

International Silver Co was formed in  Meriden, Connecticut, in 1898 by a group of independent silversmiths. This association came to include Rogers Bros. (and their famous 1847 trademark), Derby Silver, Meriden Brittannia, Webster and Wilcox, among many others.  Some pattern names: 1810, Abbottsford, Angelique, Avalon, Berkeley, Blossom Time, Brandon, Breton Rose, Bridal Veil, Brocade, Cloeta, Colonial Shell, Continental, Courtship, Dawn Rose, Deerfield/Beacon Hill, Devonshire, Du Barry, Edgewood, Elegance, Elsinore, Empress, Enchanted Rose, Enchantress, Fontaine, Frontenac, Gadroon, Georgian Maid, Governor Bradford, Grande Regency, Irene, Joan of Arc, La Rochelle, Lady Betty, Lambeth Manor, Mademoiselle, Maintenon, Margaret-New, Margaret-Old, Masterpiece, May Melody, Mille Fleurs, Minuet, Moonglow, Napoleon, Norse, Northern Lights, Old Charleston, Orleans, Pansy, Pantheon, Pine Spray, Pine Tree, Prelude, Primrose, Queen's Lace, Radiant Rose, Revere, Rhapsody-New, Rhapsody-Old, Richelieu, Riviera, Rosalind-New, Rose Ballet, Royal Danish, Royal Rose, Sculptured Beauty, Serenity, Shirley, Silver Iris, Silver Melody, Silver Rhythm, Sonja,  Southern Treasure, Splendor, Spring Bouquet, Spring Glory, Springtime, Stardust, Stratford, Swan Lake, Theseum, Torchlight, Trianon, Trousseau, Valencia, Vision, Warwick, Wedding Bells, Wedgewood, Wesley, Westminster, Whitewall-New, Wild Rose-New, Wild Rose-Old, and Windermere

Richard Dimes: Sterling Silverware Company - A Brief History

The Richard Dimes Co. was founded in the first quarter of the 20th century (sources differ on the exact year) in South Boston, Massachusetts. In 1955, the firm was sold to King Silver Co., which in turn was taken over by Rogers, Lunt & Bowlen (later Lunt Silversmiths). Dimes' tools and dies were purchased by Manchester Silver Co in the mid-1950's. Some pattern names: Debutante.




Tiffany and Company: Sterling Silverware Company - A Brief History

Tiffany and Company Inc of New York began producing its own sterling flatware in the late 1800's, but as early as the 1850's had sold the wares of other makers that bore its name. The company introduced the English sterling silver standard (925/1000) in the United States in 1852, and this was later adopted as federal law to determine sterling silver purity. Some pattern names: Atlantis, Audubon, Bamboo, Beekman, Broom Corn, Castilian, Century, Chrysanthemum, Clinton, Colonist, English King 1870, English King 1885, Faneuil, Feather Edge, Flemish, Hamilton, Hampton, Japanese, King William/Antique, Marquise, Palm, Palmette, Persian, Provence, Queen Anne, Rat Tail, Renaissance, Richelieu, Salem, San Lorenzo, Saratoga, Shell & Thread, St. Dunstan, St. James, Tiffany, Vine.Fruits & Flowers, Wave Edge, Windham, and Winthrop.





State House: Sterling Silverware Company - A Brief History

Some pattern names: Formality, Inaugural, and Stately 






Schofield co, inc: Sterling Silverware Company - A Brief History

Schofield Co Inc, of Baltimore, Maryland began in 1903 as Baltimore Silversmiths Mfg. Co and was known as Heer-Schofield Co. and Frank M. Schofield co. until the late 1920's. The company purchased assets of Jenkins & Jenkins about 1915. Some pattern names: Baltimore rose-Decor, Baltimore Rose-Plain and Lorraine.








Royal Crest: Sterling Silverware Company - A Brief History

Some pattern names: Castle Rose, Promise, and Wild Flower.








Reed and Barton: Sterling Silverware Company - A Brief History

Reed & Barton of Taunton, Massachusetts began in 1824 as the partnership of Babbitt & Crossman.  Isaac Babbitt and Wlliam Crossman began a small Brittania ware firm that went through several incarnations and almost collapsed, but was saved by the work of three employees: Charles E. Barton (the brother-in-law of William Crossman), Henry Good Reed, and Benjamin Pratt. By  1840, the Reed & Barton firm was established. 
`Reed & Barton has produced more than 100 flatware patterns, including Francis I, which has been a popular pattern since it's introduction in 1907. The firm acquired Dominick & Haff in 1928 and the Wester Co. in  1949, although Reed & Barton later sold that company to Towle in the  1960's. Initially, Reed & Barton produced Brittania ware, which resembles pewter but is more durable. Silver plated flatware was added in 1848 and sterling silverware introduced in  1889. The firm's marks on sterling feature the letter R in a shield flanked by an eagle on the left and a rearing lion on the right. Some other pattern names: Amaryllis, Autumn Leaves, Burgundy, Cameo, Cellini, Cellini-Engraved, Chambord, Classic Fashion, Classic Rose, Clovelly, Columbia, Da Vinci, DAncing Flowers, Devon, Diadem, Diamond, Dimension, Dorothy Quincy, Elegante/L'Elegante, English Provincial, Florentine, Fragrance, Francis I (Eagle/R/Lion stamp), Francis I (Patent pending stamp), Francis I (Reed & Barton stamp), Francis I sterling and gold, French Antique, French Renaissance, Georgian Rose, Grande Renaissance, Guildhall, Hampton Court, Hawthorne, Hepplewhite-Chased, Hepplewhite-Engraved, Hepplewhite-Plain, Heritage, Intaglio, Jubilee, Kings, La Marquise, La Parisienne, La Perle-Engraved, La Reine, Lark,  Les Cinq, Les Six Fleurs, Love Disarmed, Majestic, Marlborough, Petite Fleur, Pointed Antique, Pointed Antique-Hammered,  Renaissance Scroll, Romaine/Monique, Rose Cascade, Savannah, Silver Sculpture,Silver Wheat, Spanish Baroque, Star, Tapestry, Tara, and Trajan.










Oneida: Sterling Silverware Company - A Brief History

Oneida Silversmiths was incorporated in  1880 near Sherrill, New York as Oneida Community Limited. It became Oneida Ltd. in  1935 and began producing sterling flatware in 1946, marked Oneida Sterling or Heirloom Sterling. Some Pattern names: Afterglow, Belle Rose, Bountiful, Damask Rose, Dover, Du Maurier, Engagement, First Frost, Flower Lane, Grandeur, Heiress, King Cedric, Lasting Spring, Mansion House, Martinique, Mediterranea, Melbourne, Reigning Beauty, Rubaiyat, Satin Beauty, Sentimental, Silver Rose, Stanton Hall, Twilight, Virginian, Vivant, Will O' Wisp,  and Young Love












Old Newbury: Sterling Silverware Company - A Brief History

Old Newbury Crafters of Newburyport and Amesbury, Massachusetts, was formally established in  1932, but began as a joint venture in 1915. They specialized in hand-wrought patterns, including Moulton and Old Newbury. All hand-wrought pieces have been marked by the craftsmen who made them since 1965. Some pattern names: Moulton, Oak Leaf and Old Newbury.












Northumbria: Sterling Silverware Company - A Brief History

Pattern: Normandy Rose, date unknown.












National Sterling Silverware Company - A Brief History

National Silver Co of New York began in 1904, and later acquired the F.B. Rogers Co. and the Ontario Manufacturing Co of Muncie, Indiana In the mid-1950's. No flatware has been produced since the mid-1940's. Some pattern names: Intermezzo, Margaret Rose, Narcissus, Overture, and Princess Elizabeth.












Manchester Sterling Silverware Company - A Brief History

Manchester Silver Co. was established in 1887 in Providence, Rhode Island, and adopted the slogan, "If it's Manchester, It's sterling". The company mark was a cross surrounded by a crown, and the letter M. Some pattern names: Amaryllis, American Beauty, Copenhagen, Duke of Windsor,Fleetword, Gadroonette, Leonore, Manchester, Mary Warren, Park Avenue, Polly Lawton, Silver Stream, Southern Rose, and Valenciennes.














Lunt Silversmiths: Sterling Silverware Company - A Brief History

Lunt Silversmiths was established in  1901 in Greenfield, Massachusetts as Rogers, Lunt & Bowlen Co, after the failure of the A. F. Towle & Son Co, and began using the Lunt Silversmiths trademark in  1935. It later acquired the assets of the King Silver Co and the Richard Dimes Co. Some pattern names: Alexandra, American Directoire, American Victorian, Belle Meade, Carillon, Charles II, Chased Classic, Chatelaine, Colonial Manor, Colonial Theme, Contrast, Coronet, Counterpoint, Delacourt, Early american-Engraved, Early American-Plain, Early Colonial, Eloquence, English Shell, Festival, Floral Lace, Granado, Lace Point, Madrigal, Mary II, Memory Lane, Mignonette, Modern Classic, Modern Victorian, Monticello, Mount Vernon, Nellie Custis, Pendant of Fruit, Raindrop, Rapallo, Regency, Rondelay, Rose Elegance, Spring Serenade, Starfire, Summer, song, Sweetheart Rose, and William & Mary.















Jenkins and Jenkins Sterling Silverware Company - A Brief History

Jenkins and Jenkins, established in 1908 in Baltimore, Maryland, was the successor to a silver manufacturer known as A. Jacobi, which was started in  1879. The Schofield Co. of Baltimore bought the tools and dies of Jenkins & Jenkins in about 1915. Some pattern names: Repousse.















A Beginner's Guide to Collecting Coins

With the billions of U.S. Coins in circulation, it is quite possible  that a very valuable coin could come into your possession. Without realizing it, you might spend an innocent looking penny worth hundreds of dollars or even thousands of dollars. And you'd probably kick yourself for buying a candy bar with coins that later turned out to be worth a fortune. You can prevent this kind of mistake by using this website as your guide and "coin mentor."

To begin with, it's a good idea to understand the factors that make any coin valuable. These are: Scarcity, Condition and Demand. Just because a coin is old does not necessarily mean it is valuable. It's the old story of Supply and Demand. Scarcity (or rarity) is probably the most important factor in determining the value of any coin (see our price guide pages for more on this). Next important factor is Condition. Coins are available in a wide variety of states of preservation, from barely identifiable to crisp, new "uncirculated" condition. A coin, like anything else, is worth more in new condition that in worn condition. Be sure to read our article on Coin Grading. There are terms and criteria used by dealers and collectors in grading condition. The last factor in determining a coin's worth is Demand. In other words, the value of any particular premium quality coin is based upon the number of collectors who want that specific coin.

You are welcome to peruse the information of this site, in our Learning Center and our Price Guide areas. Arm yourself with information. Spend some time here learning about the hobby. Spend some time so you have a good groundwork to build from.

Gorham Sterling Silverware Company - A Brief History

The company that became the Gorham Corp. was founded about 1817 by Jabez Gorham in  Providence, Rhode Island, and became the Gorham Manufacturing Co in 1863. Jabez Gorham started making silver in  1831 in a shop on Steeple Street in Providence. Born to a family of eight, he was apprenticed to New England silversmith Nehemiah Dodge. Dodge was one of the founders of the silver and jewelry crafts industry in  18th century New England. After his seven-year apprenticeship with Dodge, Jabez formed his own business. He created the "French filigree" chain, as well as a wide selection of handcrafted pieces. The firm began producing "coin silver" spoons (made from melted coins).
Jabez's son, John, took total control of the company when Jabez retired. By  1875, there were more than 400 employees, and in 1890 Gorham moved to a new site in Providence. An office building designed in 1905 by architect Stanford White was located on Fifth Avenue in New York City.
The company's trademark--lion/anchor/G was first used in the mid-1800's; later pieces are marked "Gorham Sterling." After the turn of the century, Gorham began acquiring other silver firms, including Whiting, Durgin, Kerr, Mr. Vernon, and Alvin. 















Georg Jensen Sterling Silverware Company - A Brief History

Georg Jensen's silver business opened in Copenhagen, Denmark, in  1904 and became one of the leading producers of silverware in the world. The mark on sterling is a wreath topped by a crown and the words Georg Jensen Inc. An American company, Georg Jensen Inc. USA started in New York in 1941 and ceased production about nine years later. Some pattern names: Acanthus, Acorn, Beaded, Bernadotte, Blossom, Cactus, Caravell, Continental, Cypress, Old Danish, Parallel, and Pyramid.

Frank M. Whiting Sterling Silverware Company - A Brief History

Frank M. Whiting Co. began making silverware in  North Attleboro, Massachusetts in 1878, when it was known as Holbrook, Whiting & Albee. The company became a part of Ellmore Silver Co in about 1940, and that firm went out of business around 1960. Crown Silver Co. of New York later acquired the Whiting dies. The company mark of a griffon and a shield with a W was used up to 1896, and  later a W in a circle flanked by stylized leaves. Some pattern names: Adams, Athene/Crescendo, Botticelli, Georgian Shell, Lily/Floral, Neapolitan/Kings Court, Princess Ingrid, Rose of Sharon, Talisman Rose, Troubadour and Victoria/Florence.

Frank W. Smith Sterling Silverware Company - A Brief History

Frank W. Smith Silver Co. Inc. Began in  1886 in Gardner, Massachusetts. The firm was sold in 1917 and ceased silver manufacturing in 1930. Company marks include a lion on a crescent moon entwined with the letter S, an S in a circle flanked by conical shapes, and an S surrounded by double scrolls. A subsidiary of Reed and Barton bought the silver assets in  1958, and the flatware manufacturing was moved to North Attleboro, Massachusetts. Some pattern names: American Chippendale, Chippendale-Old, Countess, Federal Cotillion, Fiddle Shell/Alden, Fiddle Thread, George VI, Lion, Newport Shell, Pilgrim, and Woodlily.

Fine Arts Sterling Silverware Company - A Brief History

Fine Arts Sterling Silver Co. was established in  1944 in Philadelphia, Pennsylvania, selling patterns made by International Silver Co., and was moved to Morgantown, Pennsylvania in  1972. After moving to Jenkintown, Pennsylvania in 1977, Fine Arts went of of business in 1979. Some pattern names:  Crown Princess, Romance of the Stars, Processional, Romance Rose, Southern Colonial,  and Tranquility.

Easterling Sterling Silverware Company - A Brief History

Easterling Co. began in Chicago in 1944. Sterling assets were sold to the Westerling Co. in 1974, with Gorham producing the patterns. Some pattern names: American Classic, Helene, Horizon, Rose Spray, Rosemary, and Southern Grandeur.

Durgin Sterling Silverware Company - A Brief History

William B. Durgin started his company in Concord, New Hampshire in 1853, and it grew to become one of the largest flatware and hollowware manufacturers in the U.S.  Gorham Co. purchased the firm in 1905, and production was moved to Providence, Rhode Island in 1931. Some pattern names are: Bead, Chatham, Chrysanthemum, Cromwell, Dauphin, English Rose, Essex, Fairfax, hunt Club Iris, Lenox, Louis XV, Madame Royale,  Marechal Niel, New Vintage, Orange Blossom, Sheaf of Wheat, Victorian/Sheraton, and Watteau.

Are old Eros Magazines worth anything?

Eros Magazine volume 1 number 1 hit the stands in early 1962, and the U.S. government, apparently, was not ready for it. Accompanying the magazine was a newletter and a book. Eros is so tame by modern standards that it is hard to believe that less than 50 years ago the publisher was jailed for the act of publishing it. It was a high quality, hardcover magazine, with some serious discussion as well as a few nicely done photographs, including, in issue #3, the last studio portrait of Marilyn Monroe.

Eros lasted only four issues, despite its overwhelming success with the public. Ralph Ginzburg and other members of the Eros team were hounded through the courts, all the way to the top. In 1966, the Supreme Court upheld Ginzburg's conviction on  obscenity charges as well as his five-year prison sentence. Despite its short life, Eros was the beginning of a new type of thought about sex in the U.S. Barney Rossett and Grove Press had begun to reprint the Olympia Press titles of Henry Miller and Pauline Reage, Hugh Hefner's Playboy was hitting new heights and the film I am Curious (Yellow) was driving the last nail into the coffin of the Hayes Office. The government was playing the role of the old lady, trying to sweep back the sea. Unfortunately for Ginzburg, he was the broom.

Eros is collected both as a significant piece of art and literature as well as a cornerstone of collections of banned and censored material.  A complete set of four issues in extremely fine condition will sell for around $100.

Are old Ebony Magazines (1945-Modern) and Jet Magazines (1951-Modern) worth anything?

While African-American media have a much longer history and such newspapers as the Chicago Defender and The Abolitionist have had significant effects on American social history, the advent of Ebony in 1945 and Jet in 1951 brought African-American magazines to a mass audience. An interesting part of these magazines that seems to slip by many social historians, but not past collectors, are the ads that pioneered in their pages. For almost a century, the image of the African-American in magazine ads was typified by Cream of Wheat or Aunt Jemima. The success of Ebony and Jet in terms of circulation brought home to the advertising industry the neglected market of an emerging African-American middle class. For the first time, African-Americans were featured sipping a popular soft drink, dressed in the latest fashions or driving a car.

Both Ebony and Jet played a significant role in the civil rights movement. Collectible issues focus on both the historical aspect of their civil rights artciles and the socially significant effect of their advertisements.

The first issues of these magazines have the most monetary value, fetching as much as $20-$30 each to the right collector. The older issues are more valuable than the more modern ones, obviously. And, as in every thing, condition of the magazine is vital. Examples in extremely fine or near mint condition are collectible, while worn and tattered copies have little or no value.

Kirk Steiff Sterling Silverware Company - A Brief History

Kirk Steiff Corp. began in Baltimore Maryland in 1815 as Kirk & Smith. For the next 100 years, generations of the Kirk family operated the firm. Founder Samuel Kirk introduced the Repousse pattern in 1828. The Stieff Co. of Baltimore acquired the Kirk Co. in 1979.

Mint Mark Locations on United States Coins

United States Coins have been issued at several locations, called "Mints", around the United States. A tiny letter, such as D, or S, or CC, is sometimes stamped on the coin to indicate which mint produced the coin. These are called Mint Marks and are a very important part of coin collecting. Sometimes, the mint mark alone determines the value of the coin.

How to find Mint Marks: The coin's Mint mark, if any, is small and difficult to find. The Mint mark  is always a single letter with the exception of the Carson City Mint, which is "CC". The location of the Mint mark varies depending upon the coin design and the coin's date. The chart that follows shows the exact location of the Mint Mark on most older USA coins.

WARNING: When a big price difference depends upon the Mint mark, the coin should be carefully examined for alterations. Mint marks can be changed, added, or removed to defraud collectors.

NOTE: Obverse means the front (heads) of the coin, and Reverse means the back (tails) of the coin.

PENNY  (Indian Head, 1859-1908) ---  Reverse, below wreath
PENNY  (Lincoln Wheat, 1909-1958) ---   Obverse, below date
PENNY  (Lincoln Memorial, 1959-today) ---   Obverse, below date 
THREE CENT (silver) ---  Reverse, at right of C
FIVE CENT NICKEL (Liberty Head) ---  Reverse, at left of cents below dot
FIVE CENT NICKEL (Buffalo) ---  Reverse, below 5 cents
FIVE CENT NICKEL (Buffalo, 1942-1945) ---  Reverse, large mint mark above building
FIVE CENT NICKEL (Jefferson, 1938-1964) ---  Reverse, at right of building
FIVE CENT NICKEL (Jefferson, 1968-today) ---  Obverse, below date
HALF DIME (Liberty Seated) ---  Reverse, above or below bow of wreath
DIME (Liberty Seated) ---  Reverse, Reverse, above or below bow of wreath  
DIME (Barber) ---  Reverse, below wreath
DIME (Mercury) --- Reverse, at right of ONE
DIME (Roosevelt, 1946-1964) ---  Reverse, at left of torch
DIME (Roosevelt, 1968-today) ---  Obverse, above date
TWENTY CENTS  --- Reverse, below eagle
QUARTER (Liberty Seated) --- Reverse, below eagle
QUARTER (Barber) --- Reverse,  below eagle
QUARTER (Standing Liberty) --- Obverse,  at left of date
QUARTER (Washington, 1938-1964) --- Reverse,  below wreath
QUARTER (Washington, 1968-today) --- Obverse,  at right of ribbon
HALF DOLLAR (Capped bust, reeded edge) --- Obverse, above date
HALF DOLLAR (Liberty Seated) ---   Reverse, below eagle
HALF DOLLAR (Barber) ---   Reverse, below eagle
HALF DOLLAR (Liberty Walking, 1916-1917) --- Obverse, below motto
HALF DOLLAR (Liberty Walking, 1917-1947) --- Reverse, below leaves at left
HALF DOLLAR (Franklin) --- Reverse, above yoke of bell     
HALF DOLLAR (Kennedy, 1964) --- Reverse, at left of branch
HALF DOLLAR (Kennedy, 1968-today) --- Obverse, above date
DOLLAR (Eisenhower) --- Obverse, above date 
DOLLAR (Liberty Seated) --- Reverse, below eagle
DOLLAR (Morgan) --- Reverse, below wreath
DOLLAR (Peace) --- Reverse, below eagle
DOLLAR (Susan B. Anthony) --- Obverse, at left of head 
DOLLAR (Trade) --- Reverse, below eagle  
GOLD $2.50 QUARTER EAGLE (Classic Head) --- Obverse, above date
GOLD $2.50 QUARTER EAGLE (Coronet) --- Reverse, below eagle
GOLD $2.50 QUARTER EAGLE (Indian Head) --- Reverse, at left of fasces
GOLD THREE DOLLARS  --- Reverse, below wreath
GOLD $5 HALF EAGLE (Classic Head) --- Obverse, above date
GOLD $5 HALF EAGLE (Coronet, 1839) --- Obverse, above date
GOLD $5 HALF EAGLE (Coronet, 1840-1908) ---  Reverse, below eagle 
GOLD $5 HALF EAGLE (Indian Head) --- Reverse, at left of fasces
GOLD $10 EAGLE (Coronet) --- Reverse, below eagle 
GOLD $10 EAGLE (Indian Head) --- Reverse, at left of fasces
GOLD $20 DOUBLE EAGLE (Coronet) --- Reverse, below eagle 
GOLD $20 DOUBLE EAGLE (St. Gaudens) --- Obverse, above date         
   




























 



How do I grade my coin collection? The iGuide Coin Grading Guide

The descriptions of coin grades that follow are intended to outline the relative condition of coins in various states of preservation. These standards are based on trade practices recommended by The American Numismatic Association to avoid misunderstandings in the buying, selling, and advertising of coins.

When a coin in circulation starts to show signs of wear, only the highest parts of the design are affected. You will note that the highest points of the design become slightly rounded or flattened --- and that very fine details begin to merge together or fade away.

After a coin has been in circulation for a longer time, the entire design and surface will show obvious signs of wear. Most of the high points will lose their sharpness and the original luster will begin to fade. Further circulation will flatten out the sharpness and relief of the entire design. The high points will all begin to merge with the next lower parts of the coin's design.

UNCIRCULATED COIN GRADES

The term UNCIRCULATED, also referred to as MINT STATE, refers to a coin which has never been in circulation. It is UNUSED. Such a coin has no signs of wear from usage whatsoever.

Uncirculated coins can be divided into four major categories:

PERFECT UNCIRCULATED (MS-70). — The finest quality available. Such a coin under 4X magnification will show NO bag marks, lines, clouding, or other evidence of handling or contact with other coins.

GEM UNCIRCULATED (MS-65). — An above average uncirculated coin which may be brilliant or highly toned and has very few bag contact marks or perhaps one or two very light rim marks.

CHOICE UNCIRCULATED (MS-63). — Has some distracting contact marks or blemishes in prime focal areas. Luster may be impaired.

UNCIRCULATED (MS-60). — Refers to a coin which has a moderate number of bag marks on its surface. A few minor edge nicks may be present, although they must not be of a serious nature. Surface may be spotted or lack some luster.


CIRCULATED COIN GRADES

Circulated coins are USED. They have been in circulation, meaning they have been handled, pocketed, and carried, sometimes for decades. As a result, they are worn to one degree or another. Coin collectors have established the following grades for rating just how used a coin actually is:
CHOICE ABOUT UNCIRCULATED-55 (AU-55). Only a small trace of wear is visible on the highest points of the coin. As in the case with other grades here, specific information is listed in the Official ANA Grading Guide under the various types, for wear often occurs in different spots on different designs.

ABOUT UNCIRCULATED-50 (AU-50). Only a small trace of wear is visible on the highest points of the coin. As in the case with other grades here, specific in format.

Choice About Uncirculated-55 (AU-55). With traces of wear on nearly all of the highest areas. At least half of the original mint luster is present.

CHOICE EXTREMELY FINE-45 (EF-45 or XF-45). With light overall wear on the coin's highest points. All design details are very sharp. Mint luster is usually seen only in protected areas of the coin's surface such as between star points and in the letter spaces.

EXTREMELY FINE-40 (EF-40 or XF-40). With only light wear but more extensive than the preceding, still with excellent overall sharpness. Traces of mint luster may still show.

CHOICE VERY FINE-30 (VF-30). With light even wear over the surfaces; design details on the highest points lightly worn, but with all lettering and major features sharp.

VERY FINE-20 (VF-20). As preceding but with moderate edge wear on highest parts.

FINE-12 (F-12). Moderate to considerable even wear. Entire design is bold. All lettering, including the word LIBERTY (on coins with this feature on the shield or head band) visible, but with some weaknesses.

VERY GOOD-8 (VG-8). Well worn. Most fine details such as hair strands, leaf details, and so on are worn nearly smooth. The word LIBERTY if on a shield or headband is only partially visible.

GOOD-4 (G-4). Heavily worn. Major designs visible, but with faintness in areas. Head of liberty, wreath, and other major features visible in outline form without center detail.

ABOUT GOOD-3 (AG-3). Extremely heavily worn with portions of the lettering, date and legends being worn smooth, the date barely readable.

How to Store and Care for your Rare Coins - Tips for Storage and Caring

One of the most common questions collectors ask is, "How do I take care of my coin collection?" How to store and care for your valuable coins is a subject that should be of interest to every beginning coin collector. After all, you can't just toss your coins into an old bottle or cigar box and call it a collection. As a serious numismatist, you should handle each valuable coin in your possession carefully and preserve it in the condition in which you first received it. For example, when examining a coin you should hold it by its edges over a soft surface, In this way should you accidentally drop the coin, no harm will be done. A coin should never be touched or held by its faces,  obverse or reverse, for the oil and acid on one's skin can leave fingerprints and possibly cause damage.

When you choose a method to store your coins, you should find a form that not only protects your coins but also makes them easily accessible and visible to you. The most frequently used method is the familiar Whitman folder. This is the least expensive and easiest method of storing coins as a collection. These folders have die-cut holes in the cardboard, which are labelled with date, mint mark, mintage, and other information. Thus, when you've acquired a particular coin, you simply insert it into the proper hole with a little thumb pressure (use protective gloves when doing this).

The latest and most protective of the Whitman coin holders offers both visibility and protection. The folders have thick cardboard that is just a little thicker than the depth of the coin which it is designed to hold. To hold the coin and protect it from rubbing in the album, clear plastic sides are provided (top and bottom).

Another widely used means of storing individual coins, both for deals and collectors, is known as the 2x2. This is a hinged piece of cardboard, die-cut with a hole of coin size with a thin piece of plastic glued in. A coin is inserted between the layers of cardboard, which is then folded over and stapled or taped shut, thus effectively protecting the coin. Both front and back of the coin are easily viewed.

There are also plastic Lucite hardshell holders, slabs, and a myriad array of other storage devices. A search of the internet will find many retailers of coin storage products. Good luck!

Are old National Geographic Magazines worth anything?

The National Geographic Society in Washington, D.C. has published and circulated National Geographic Magazine every month since January 1896 (except for the years 1897 and 1917 when the magazine was published every other month). Nine issues were published between 1888 and 1891, before the magazine went monthly in 1896. Between 1891 and 1895, 27 so-called "brochures" were produced, making a total of 36  early publications. In those early years, the magazine covers were a red brick color. Altogether, there have been 6 different color designs up to the present.

Are old Reader's Digest Magazines worth anything?

One of the most common magazines in the vintage magazine marketplace has to be Reader's Digest. Most have little or no value. The only exceptions to this are examples with covers of famous movie or television stars, or covers of interest.

VERDICT: TRASH for the most part, very little demand, difficult to sell, few collectors.

Tools of the Trade for Buying Gold

There are a few tools of the trade all precious metals dealers have in their toolbox. Here is a quick rundown of the most important ones.

1. Digital Scale 
You weigh precious metals on the scale as one of the steps in determining your bid. Your scale should be able to weigh in grams, pennyweight and troy ounces. Carats may also proof useful if you plan on dealing in diamonds, but not necessary otherwise. There are all kinds of scales on the market. You can spend a lot of money on a fancy digital scale able to weigh thousands of grams, but this is overkill. A good 1000 gram scale like the one included in our kit can be bought on Amazon for around $25.

Since you will be weighing silver as well as gold and platinum, we recommend that your scale be able to accommodate at least 1000 grams. Our Affiliates kit includes a 1000 gram digital scale.

You can start with a small digital scale and expand to a more expensive model once your gold buying business grows and you learn what will fit best for your business.

2.  Jeweler's Loupe
This is probably your most-used tool. We recommend a 30X loupe rather than the standard 10X loupe, because sometimes the markings on gold jewelry can be very tiny. Our Affiliates Kit includes a nice 30X loupe.

3.  Testing Acids
A set of testing acid will include 10K, 14K, 18K, 22K, Silver and Platinum testing solutions. The set of acid in our Affiliates Kit contains all the acids you will need to get started.

4.  Testing Stone
Using a testing stone along with the acids is one way of testing gold. We use a scraper and place the drop of acid directly on the piece, but many buyers prefer the testing stone. You take the ring, scrape it along the stone, and a small mark is left on the stone. You then apply the acid solution to the stone. If the mark disappears, the piece is the karat quality of the acid used. We include a testing stone in our Affiliates kit.

5.  Pliers and prong openers for removing stones
Of course, you will not be removing stones before you buy rings (you will simply deduct a quarter or half gram from the weight depending upon the size of the stone). You do not want to pay gold prices for large stones that are only worth a few pennies each. (The sad truth is that most colored stones, with rare exceptions like emerald and ruby, have very little value).

Sometimes your customers may want to keep the stones. You can remove them for free or charge a small fee for this service. Normally, we do it for free.

However, once in your possession and before you ship to us, you need to remove as many stones as possible. We don't want colored stones nor small diamonds. Large diamonds of 2 carats or more are of interest.  You can buy pliers and prong openers on Amazon.com or eBay.com. We do not include these in the kit.

6. Magnet
You use a strong magnet as a quick test to eliminate items made of steel, or containing ferrous metal. Anything that sticks to the magnet is not precious metal, but many non precious metals (such as copper) are also not magnetic, so this is not a fool proof test. Also, necklaces often have a steel clasp attached to a solid gold chain. The magnet test is a good way to weed our plated junk and costume jewelry. We include a very strong Rare Earth Magnet in our Affiliates Kit. It is just one more tool that helps guide you to the gold mine.

7. File or scraper
You use a file or Xacto knife to make a small scratch in an unobtrusive place on any items you wish to test with acid solution. The reason you do this is so you cut through any gold plating or coating that may be present on items that may only be gold-plated, not solid gold. After making a tiny scratch, you place a drop of acid directly onto the piece and observe the reaction. We include an Xacto knife in our Affiliates Kit.

8. Calculator
A small pocket calculator is needed for doing your final tally before yuo write your check. We include a good calculator in our Affiliates kit.

9. Appraisal Forms
We provide Appraisal Forms for writing up your purchase offer. You use these to wrrite the wight and tyope of each piece. Then you sum up the sub-totals for a grand total at the bottom. This grand total is the amount of your offer for that group of items.

10.  Lighting
You need a good light source when looking at jewelry, so you can better see the markings. Invest in a couple of good OTT lights (check Amazon and eBay for pricing). These are a good investment. We do not include lighting in the Affiliates kit.

11. Cash
Last but not least, have some cash on hand. Although we recommend paying by check whenever possible, some of your customers will want cash, or hesitate to accept a check. In those cases, you need enough cash on hand to cash the check for the seller. How much to have on hand depends on the size of the group you will be buying from, or your venue. If you are setting up at a flea market or local antiques shop, you might need more than at a gold party.

There you have it, a complete list of tools of the trade. With these tools in your toolbox, you are ready to go forth and mine for gold, silver and platinum. 

How can I sell my Franklin Mint Silver collections?

With the value of precious metals such as silver and gold rising, many people are wondering if now might be the best time to sell Franklin Mint silver sets. The answer is YES, but with caution.

You might sell locally, but you will not get top dollar from a local gold buyer or coin shop. You could try to sell on eBay, but that's a hassle and after paying fees and commission you will end up with less than if you had simply sold directly to an interernet buyer.

That leaves you with finding an internet buyer.  You should look for a Internet buyer who will pay the highest percentage of the precious metal value, obviously.  But you should also look for an Internet buyer who is a member of the Better Business Bureau online reliability program. If the company is a member of their local Chamber of Commerce, that’s even better. And, of course, the company should have a valid business license in the county in which they operate. If the Internet company is not licensed, do not deal with them! You certainly want to sell for the highest possible price, but you also want to avoid being ripped off in the process.

If you look locally for where to sell you may find a coin shop or pawn shop who will offer to buy, but compare their offer with others before accepting. Local buyers pay as little as 40% of the true value when they buy your Franklin Mint sets. A top buyer will pay 75% to 85%.  The difference could be hundreds or thousands of dollars.

Look for an Internet buyer that provides fast, friendly communications and no-obligation bids. A professional buyer will reply to your emails quickly and treat you with respect. If not, go elsewhere. Any reputable buyer will have years of experience and will be happy to help you sell.

Of course, a business must make a profit to remain in business, but a solid company knows that competition is intense and they must pay a fair price in order to remain successful.

A good buyer will provide a price quote in advance, without asking you to ship first.  If a buyer cannot provide an upfront quote, go elsewhere. Do not send your items on approval unless you have thoroughly checked references. By having an upfront bid, you can decide to sell or not, based on the price offered. This is much better than sending first and“hoping” for a good price, which is the way many Internet buyers operate.

In summary, Do your homework, deal with a reputable firm, and you will ensure a successful transaction.

Are limited edition plates by The Franklin Mint worth anything?

Many collectors ask iGuide about the marketability of limited edition porcelain plates issued by The Franklin Mint and other private mints. Beginning in the 1970s, The Franklin Mint issued limited edition porcelain plates in many series and on many subjects. They also issued limited edition plates made of solid sterling silver. Massive advertising campaigns in magazines such as Parade touted the desirability and 'limited' nature of these collectibles. The original issue prices ranged from $30 to $300 EACH!

The sad truth is, in today's market, these porcelain plates are worth only a fraction of their original price in most cases. Thus, most fall into the TRASH category. But don't throw the baby out with the bath water. Sterling silver limited edition plates have good value due to their silver content. While the sterling silver plates often will not fetch more than their original issue price, in many cases they have at least held their value.

VERDICT:
PORCELAIN PLATES: TRASH
PEWTER PLATES: TRASH
STERLING SILVER PLATES: TREASURE

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

How do I grade my Franklin Mint silver collections?

Obviously, the better the state of preservation any collectible enjoys, the more it is worth. Our Franklin Mint Grading Guide is intended to give collectors some guidelines to help determine the grade, or condition, of their collectible. I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.

Grading is an art, not a science. It can take years of experience to learn how to accurately rate the condition of an item. Hopefully this guide will start you on your path.
C10 = Like New
As new (pre-1980 items are seldom found in this condition). C9 : N-
Nearly New, but has very slight signs of age. No visible signs of wear or damage. C8 = E+
Almost like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of holders, noticeable only with a magnifying glass. C7 = E : Excellent
Still very shiny, near new looking, with no visible signs of wear, but a few slight blemishes may be present.
C6 = E-
Still shiny but without the luster of a the above grade, may have a few light scratches or possibly signs of tarnishing.
C5 = VG+
V+ is an average condition collectible in which scuffs and general use has dulled the finish somewhat. Wear is moderate but eye appeal is generally very good. Surface not worn but not lustrous either.
C4 = VG : Very Good
Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive. C3 = VG-
Surface scratches and general wear are obvious.
C2 = G+
Heavy scratches.
C1 = G : Good
Quite seriously worn and scratched.
G- ; F ; and P
Some experts also use these designations for collectibles in extremely poor condition. We do not place these on the 10-point scale because Franklin Mint collectibles in this condition have little or no value. In cases where the item is extremely rare, it would be worth the C1 price in our price guide.

What are some of the most valuable Franklin Mint and Danbury Mint collections?

From the mid-1960s to the late 1980s, The Franklin Mint issued limited edition coin and ingot sets made of sterling silver, bronze, pewter, and sometimes gold-plated sterling silver. The sets were sold using a subscription model, where each month the subscriber would receive one or two coins to add to their set. At the end of the subscription period, the collection would be complete. The sets were also sold as a complete set, without the need to subscribe.
Today, with the value of silver and gold having reached more or less the same inflation-adjusted value they had in the late 1970s, collectors are wanting to learn the value of these sets. Herewith, we provide a list of the top 10 most valuable Franklin Mint silver sets. Word of warning: these sets have value only when they are made of sterling silver or gold-plated sterling silver. Often, an "economy priced" set was issued made of bronze or pewter, and these versions have very little if any value.

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)


1. The Franklin Mint Presidential Ingot Collection, 5000 Grains Edition

According to our database of Franklin Mint sets, this set of 36 sterling silver ingots is the most valuable of all the silver sets issued by The Franklin Mint. A 2500 grain set and a one ounce set were also produced in sterling silver. You can check the value of this set in our FRANKLIN MINT PRICE GUIDE.

2. The Franklin Mint History of USA Medals Collection

Each of these sterling silver medals is 45 millimeters in diameter (about 2 inches). The complete set is 200 medals. This series of 200 medals provides a comprehensive history of the U.S. since the Declaration of Independence in 1776. Each medal recalls a different year by depicting the 'event of the year' selected from those listed on the reverse. The set was housed in a large wooden box with sliding shelves for the medals, 20 medals per shelf.

3. The Franklin Mint 100 Greatest Masterpieces Collection

This set of 100 medals was produced in a regular sterling silver edition and also a gold-plated sterling silver edition. The gold-plated version is slightly more valuable than the regular sterling edition, although some buyers will try to convince you otherwise. Each medal depicted a famous artwork through the ages. The set was housed in a beautiful mahogany display box with shelves. Although quite valuable, this is one of the more common sets.

4. The Franklin Mint Centennial Cars Ingot Collection

Celebrating 100 years of automobiles, this set of 100 sterling silver ingots was produced from 1974 - 1978. Each ingot measures roughly 1.25" X 2.25". The set was housed in a beautiful solid oak trunk.

5. The Franklin Mint History of Mankind Medals Collection

The set was issued from 1974-1982. The complete set contains 100 medals. Each medal is a 51 millimeter Proof, 24K gold electroplate coating on sterling silver. The most important events in the history of civilization were commemorated in this collection.

6. The Franklin Mint 50 Greatest Sailing Ships in History Ingot Collection

Museum Collection. Complete set of 50 ingots. Each measures app. 2-1/2" by 1-3/4". The 50 greatest sailing ships of the past 50 centuries were honored in this collection of 50 ingots.

7. The Franklin Mint Bicentennial History of the United States Ingots Collection

This set of sterling silver ingots included 100 different pieces commemorating great events in American history.

8. The Franklin Mint Bicentennial Bowl

14 inches in diameter, 7 inches high. Huge and solid sterling silver.

9. The Franklin Mint Masterpieces of Thomas Gainsborough Ingots Collection

This was a set of 100 gold-plated sterling silver ingots issued to commemorate the great works of British artist Sir Thomas Gainsborough. We believe this set was issued only in Great Britain and the UK.

10. The Franklin Mint Flags of the United Nations Collection

Complete set of 135 large ingots, certified on March 15, 1974. Each ingot shows the official flag of a country that is a member of the United Nations at that time. The full size set was issued when there were 135 members. A small so-called "mini" set was issued later which contained 142 tiny silver ingots, each about the size of a fingernail. The mini set is much less valuable than the large set.

This list includes only sterling silver sets. A number of very valuable sets were produced in 24 karat gold.

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

Are old 78 RPM records on the Vocalion label worth anything?

The History of Vocalion Records

Vocalion was founded in 1916 by the Aeolian Piano Company of New York City, which introduced a retail line of phonographs at the same time. The name was derived from one of their corporate divisions, the Vocalion Organ Co. The fledgling label first issued single-sided. vertical cut disc records, soon switching to double sided, then switching to the more common lateral cut system in 1920. Aeolian pressed their Vocalion discs on a good quality reddish-brown shellac, which set the product apart from the usual black shellac used by other record companies. Advertisements stated that "Vocalion Red Records are best" or "Red Records last longer". However, Vocalion's shellac was really no more durable than good quality black shellac. Vocalion red surfaces are less hardy than contemporary Victor Records. Audio fidelity and pressing quality of Vocalion records are well above average for the era. In 1925 the label was acquired by Brunswick Records. During the 1920s Vocalion also released "race records" (that is, records recorded by, and marketed to, African Americans; their famous 1000 Series). The 15000 series continued, but after the Brunswick takeover, it seems clear that Vocalion took a back seat to the Brunswick label. In 1925-26, quite a few Brunswick titles were also issued on Vocalion, and since the Vocalion issues are much harder to find, one can speculate that they were not available for sale in as many stores as their Brunswick counterparts. (By 1928-9, many of the jazz sides issued on the Vocalion 15000 series were extremely rare and highly sought-after.) In April 1930, Warner Bros. bought Brunswick Records and, for a time, managed the company themselves. In December 1931, however, Warner Bros. licensed the entire Brunswick and Vocalion operation to the American Record Corporation. ARC used Brunswick as their flagship 75 cent label and Vocalion became one of their 35 cent labels (their race/blues series during this time continued to be significant) . Starting in about 1935, the Vocalion label once again became a popular label, signing Billie Holiday, Mildred Bailey, Putney Dandridge, Henry 'Red' Allen and other swing artists. Also, starting in 1935, Vocalion started reissuing titles still selling on the recently discontinued OKeh label. In 1936 and 1937 Vocalion produced the only recordings of the influential blues artist Robert Johnson (as part of their on-going field recording of blues, gospel and 'out of town' jazz groups). From 1935 through 1940, Vocalion was one of the most popular labels for small group swing, blues and country. After the Variety label was discontinued (in late 1937), many titles were reissued on Vocalion, and the label continued to release new recordings made by Master/Variety artists through 1940. During the 1925-1930 period, outside of the 1000 'race' series, Brunswick apparently used the Vocalion brand as a specialty label for purposes other than general sale. This is assumed due to the relative rarity of the Vocalion popular series, and the fact that some of the regular Brunswick releases were also put out for sale as Vocalions. This seems to also be a possibly explanation as to why the early 1930s Vocalion are relatively rarer than other ARC records. ARC was purchased by CBS and Vocalion became a subsidiary of Columbia Records in 1938. The Vocalion label was discontinued in 1940, and the current Vocalions were reissued on the recently revived OKeh label with the same catalog numbers. The discontinuance of Vocalion (along with Brunswick in favor of the revived Columbia) voided the lease arrangement Warners had made with ARC back in late 1931, and in a complicated move, Warners got back the two labels which they promptly sold outright to Decca, yet CBS got to keep control of the post-1931 Brunswick and Vocalion masters!

Most Valuable Blues and Jazz Artists on the Vocalion Label

Charlie Patton Robert Johnson Memphis Minnie Leroy Carr Tampa Red Jenny Pope Bukka White Mississippi Sarah Mississippi Moaner

Are old 78 RPM records on the on the Black Swan label worth anything?

History of Black Swan Records Black Swan's parent company, Pace Phonograph Corporation, was founded in March 1921 by Harry Pace and was based in Harlem. The new production company was formed after Pace's music publishing partnership with W.C. Handy, Pace & Handy, had dissolved. (Some historians have thought W.C. Handy had a stake in Pace's new business, but Handy's own words contradict this.

Popular entertainer and pioneering black recording artist Bert Williams was an early investor in Pace Phonograph. Williams also promised to record for the company once his exclusive contract with Columbia Records ended, but he died before that could occur.

Pace Phonograph Corporation was renamed Black Swan Phonograph Company in the fall of 1922. Both the record label and production company were named after 19th century opera star Elizabeth Taylor Greenfield, who was known as the Black Swan.

Noted author, activist, and academic W.E.B. Du Bois was a stockholder and member of the Board of Directors of Black Swan. Ads for Black Swan often ran in The Crisis, the magazine of the National Association for the Advancement of Colored People, which Du Bois edited.
The production company declared bankruptcy in December 1923; and in March 1924 Paramount Records bought the Black Swan label. The Chicago Defender reported the event by noting important accomplishments of Black Swan in a short career span, including: pointed out—to the major, all white-owned, record companies—the significant market demand for black artists; prompted several major companies to begin publishing music by these performers. In addition, the Defender credited Pace with showing the majors how to target black audiences and to advertise in black newspapers. Paramount discontinued the Black Swan label a short time later.

Most Valuable Blues and Jazz Artists on the Black Swan Label Kattie Crippen on Black Swan 78 RPM
Alberta Hunter on Black Swan 78 RPM
Ethel Waters on Black Swan 78 RPM
James P. Johnson on Black Swan 78 RPM
Lucille Hegamin on Black Swan 78 RPM
Trixie Smith on Black Swan 78 RPM


Top Buyer Jon Warren of 2ndMarkets.com is one of the top buyers of rare blues records. He can be reached at 1-423-320-1521 or by visiting his website (xlixk the link above.

How do I grade my 78 RPM Records?

I believe someday all collectibles will be graded using a 10-point scale, and that this universality will be a factor in making them a recognized investment like stocks and bonds. Grading services will exist for every type of antique or collectible, and these grading services will enable a liquid marketplace for trading in antiques and collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.

The 78 RPM Record Collecting Hobby uses a grading system known as the VJM Grading System. The VJM Record Grading System is an internationally-used and recognized system for grading both 78s and LPs. It is used by virtually all jazz, blues, personality and most pre-war record dealers and collectors alike, with an easily understood sequence of letters to show grades and a system of abbreviations to show faults and damage. The first grading system to be adopted by jazz record collectors was devised by the publishers of Record Changer magazine in the 1940s, and the system now known as the VJM Grading System is a refined version of the former, introduced in the early 1950s.

The VJM System has never been, however, aligned with a 10-point system. We have attempted with this guide to match the VJM system to a 10-point system, because, in our opinion, buyers feel more secure with "sight unseen" Internet buying when they are familiar with a 10-point grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

This VJM/10-point scale for grading  is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.

I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your item. As in any collectible, the better the condition of an item, the more valuable it is.

C10 = N : Store Stock New
As new and unplayed (there are virtually no 78s that can categorically be claimed to be unplayed). C9 : N-
Nearly New, but has been played. No visible signs of wear or damage. C8 = E+
Plays like new, with very, very few signs of handling, such as tiny scuffs from being slipped in and out of sleeves. C7 = E : Excellent
Still very shiny, near new looking, with no visible signs of wear, but a few inaudible scuffs and scratches.
C6 = E-
Still shiny but without the luster of a new record, few light scratches.
C5 = V+
V+ is an average condition 78 in which scuffs and general use has dulled the finish somewhat. Wear is moderate but playing is generally free from distortion. Surface noise not overly pronounced.

C4 = V : Very Good
Moderate, even wear throughout, but still very playable. Surface noise and scratches audible but not intrusive. C3 = V-
Quite playable still, but distortion and heavy greying in loud passages. Music remains loud in most passages. Surface noise and scratches well below music level.
C2 = G+
Grey throughout but still serviceable. Music begins to sound muffled. Heavy scratches.
C1 = G : Good
Quite seriously worn and scratched, but music level is stillhigher than surface noise.
G- ; F ; and P
The VJM system has these designations for records in extremely poor condition. We do not place these on the 10-point scale because records in this condition have little or no value. In cases where the record is extremely rare, it would be worth the C1 price.
GLOSSARY OF TERMS
sfc = surface lbl = label nap = not affecting play scr/scrs = scratch/scratches lc or lam  = lamination crack cr = crack gv/gvs= groove/grooves hlc/hc = hairline crack wol = writing on label sol = sticker onlabel fade = faded label eb = edge bite ec = edge chip ef =edge flake cvr = cover s = stereo rc= rim chip rf = rough;
aud/inaud = audible/inaudible
lt = light

Are old 78 RPM records on the Black Patti label worth anything?

History of Black Patti Records Black Patti Records was a short-lived (less than a year in 1927) record label. The label was owned by The Chicago Record Company, which in turn was owned by promoter Mayo ‘Ink’ Williams. The label was named after 19th century African-American singer Matilda Sissieretta Joyner Jones, who was nicknamed The Black Patti after famous opera star Adelina Patti.

Mayo Williams had enjoyed a profitable career as de-facto manager of "Race Records" (recordings by African American artists intended for African American customers) for Paramount Records. He decided to go into the record business for himself. He had no equipment, only his Chicago office. The actual recording and pressing of the records was contracted out, mostly to Gennett Records.

Black Patti Records debuted with advertisements in May 1927, with some two dozen discs said to already be available. The repertory included jazz, blues, sermons, spirituals, and vaudeville skits, most (but not quite all) by African American entertainers. A total of 55 different discs were manufactured. Williams found running his own label not as lucrative and easy as he had hoped and closed up operations before the end of 1927.

Perhaps the most famous of the sides recorded for Black Patti are those by Willie Hightower's jazz band.

Most Valuable Blues and Jazz Artists on the Black Patti Label Willie Hightower on Black Patti 78 RPM
Mozelle Alderson on Black Patti 78 RPM
Hattie Garland on Black Patti 78 RPM
Steamboat Joe on Black Patti 78 RPM
Sam Collins on Black Patti 78 RPM
Big Boy Woods on Black Patti 78 RPM
Kid Brown on Black Patti 78 RPM
Elizabeth Washington on Black Patti 78 RPM
Top Buyer Jon Warren of 2ndMarkets.com is one of the top buyers of rare blues records. He can be reached at 1-423-320-1521 or by visiting his website (xlixk the link above.

Are old 78 RPM records on the Gennett label worth anything?

History of Gennett Records Gennett is best remembered for the wealth of early jazz talent recorded on the label, including sessions by Jelly Roll Morton, Bix Beiderbecke, The New Orleans Rhythm Kings, "King" Joe Oliver's band with young Louis Armstrong, Hoagy Carmichael, Duke Ellington, The Red Onion Jazz Babies,The State Street Ramblers, Zach Whyte and his Chocolate Beau Brummels, Alphonse Trent and his Orchestra and many others. Gennett also recorded early blues artists such as Thomas A. Dorsey, Sam Collins, Jaybird Coleman, and Big Boy Cleveland, and early "hillbilly" or country music performers such as Vernon Dalhart, Bradley Kincaid, Ernest Stoneman, Fiddlin' Doc Roberts, and Gene Autry. Many early religious recordings were made by Homer Rodeheaver, early shape note singers and others.

From 1925 to 1934, Gennett released recordings by hundreds of "old-time music" artists, precursors to country music, including such artists as Doc Roberts and Gene Autry. By the late 1920s, Gennett was pressing records for more than 25 labels worldwide, including budget disks for Sears, Roebuck's catalog. In 1926, Fred Gennett created Champion Records as a budget label for tunes previously released on Gennett.

The Gennett Company was hit severely by the Great Depression in 1930, and cut back on record recording and production until it was halted altogether in 1934. At this time the only product Gennett Records produced under its own name was a series of recorded sound effects for use by radio stations. In 1935 the Starr Piano Company sold some Gennett masters, and the Gennett and Champion trademarks to Decca Records. Jack Kapp of Decca was primarily interested in some jazz, blues and old time music items in the Gennett catalog which he thought would add depth to the selections offered by the newly organized Decca company. Kapp also attempted to revive the Gennett and Champion labels between 1935 and 1937 as specialists in bargain pressings of race and old-time music with but little success.
Most Valuable Blues and Jazz Artists on the Gennett Label Josephine Beatty on Gennett 78 RPM
King Oliver on Gennett 78 RPM
Jelly Roll Morton on Gennett 78 RPM
Red Onion Jazz Babies on Gennett 78 RPM
Baby Bonnie on Gennett 78 RPM
Walter Coon on Gennett 78 RPM
Mae Glover on Gennett 78 RPM
Thomas Dorsey on Gennett 78 RPM
Top Buyer Jon Warren of 2ndMarkets.com is one of the top buyers of rare blues records. He can be reached at 1-423-320-1521 or by visiting his website (xlixk the link above.

Are old 78 RPM records on the Herwin label worth anything?

History of Herwin "Race" Records Herwin Records was a US record label founded and run by brothers Herbert and Edwin Schiele, the trademark name being formed from their first names. Herwin Records was based in St. Louis, Missouri, and produced records starting in 1924. Most of the material released on the label was from master discs leased from Gennett Records and Paramount Records. In 1930 Herwin was sold to the Wisconsin Chair Company, the parent of Paramount Records, which discontinued the Herwin label sometime in the 1930s.
Most Valuable Blues Artists on the Herwin Label Lizzie Washington on Herwin 78 RPM
Blind Willie Jackson on Herwin 78 RPM
Charley Peters on Herwin 78 RPM
Katherine Baker on Herwin 78 RPM
Blind Tim Russell on Herwin 78 RPM
Jerry Lee on Herwin 78 RPM
Reverend J.M. Gates on Herwin 78 RPM
Blind Jeremiah Taylor on Herwin 78 RPM
Top Buyer Jon Warren of 2ndMarkets.com is one of the top buyers of rare blues records. He can be reached at 1-423-320-1521 or by visiting his website (xlixk the link above.

Are old 78 RPM records Paramount label worth anything?

History of Paramount 'Race' Records

Paramount Records was contracted to press discs for Black Swan Records. When that company floundered, Paramount bought out Black Swan and thus got into the business of making recordings by and for African-Americans. These so-called 'race music' records became Paramount's most famous (and most valuable to record collectors).

Paramount's 'race record' series was launched in 1922 with a few vaudeville blues songs by Lucille Hegamin and Alberta Hunter. It had a large mail-order operation that was a key to its early success.

Most of Paramount's race music recordings were arranged by Black entrepreneur J. Mayo Williams. 'Ink' Williams had no official position with Paramount, but was given wide latitude to bring African-American talent to Paramount recording studios and to market Paramount records to African-American consumers. Williams did not know at the time that the 'race market' had become Paramount's prime business, and he was essentially keeping the label afloat.

Problems with low audio fidelity and poor pressings plagued the label. Blind Lemon Jefferson's big 1926 hit, 'Got the Blues' and 'Long Lonesome Blues', had to be hurriedly re-recorded in the superior facilities of Marsh Laboratories and subsequent releases used that version; since both versions appear on compilation albums, they may be compared.

In 1927, Mayo Williams moved to competitor Okeh Records, taking Blind Lemon Jefferson with him for just one recording, 'Matchbox Blues';. Paramount's recording of the same song can be compared with Okeh's on compilation albums, to Paramount's detriment. In 1929 Paramount was building a new studio in Grafton, Wisconsin, so it sent Charlie Patton — 'sent up' by Jackson, Mississippi storeowner H.C. Speir — to the studio of Gennett Records in Richmond, Indiana, where on June 14 he cut 14 famous sides which led many to consider him the 'Father of the Delta Blues'.

What are the most valuable blues records on the Paramount label?

Charlie Patton on 78 RPM Paramount
Son House on 78 RPM Paramount
Willie Brown on 78 RPM Paramount
Tommy Johnson on 78 RPM Paramount
Charlie Spand on 78 RPM Paramount
Robert Peoples on 78 RPM Paramount
Blind Lemon Jefferson on 78 RPM Paramount
Alberta Hunter on 78 RPM Paramount
Visit our 78 RPM collectors guide for more information

How To Sell Old Records

In order to make a "sight unseen" bid for your Old Records, a record buyer needs to know certain key information. YOU SHOULD INCLUDE THIS INFO IN YOUR INITIAL LIST! If you are new to record selling, building the list yourself can be a chore, but this article covers the main points and hopefully makes it a bit easier. Before you start off trying to sell your old records, you should make an inventory list. It will be the first thing any record collector will ask for.

IMPORTANT: YOU SHOULD INCLUDE THE FOLLOWING INFO IN YOUR LIST!

LABEL (always on the record label; example: SUN)
RECORD NUMBER (always on the record label; examples: in the image at right, the Record Number is 175
ARTIST NAME (always on the record label; example: JOHNNY LONDON
CONDITION (used, like new, VG, NM etc., just a best guess please, even if you only say USED or LIKE NEW)

How To Sell Comic Books

In order to make a "sight unseen" bid for your old comic books, a comic book buyer needs to know certain key information. YOU SHOULD INCLUDE THIS INFO IN YOUR INITIAL LIST! If you are new to comic book selling, building the list yourself can be a chore, but this article covers the main points and hopefully makes it a bit easier. Before you start off trying to sell your old comic books, you should make an inventory list. It will be the first thing any comic book collector will ask for.

IMPORTANT: YOU SHOULD INCLUDE THE FOLLOWING INFO IN YOUR LIST!

TITLE (always on the front cover; example: AMAZING SPIDER-MAN) 
ISSUE NUMBER (always on the front cover or in the tiny print at bottom of first page; example: #175)
ISSUE DATE (always on the first page or inside front cover; example: June, 1947 issue)
CONDITION (used, torn, like new, VG, NM etc., just a best guess, even if you only say USED or LIKE NEW) 

How To Grade Your Sports Cards

I believe someday all collectibles will be graded using a 10-point scale, and that this universality will be a factor in making collectibles a recognized investment like stocks and bonds. Grading services will exist for type of antique or collectible, and these grading services will enable a liquid marketplace for massive trading in collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.

Before the introduction of the Sports Card 10-point grading system, the marketplace suffered from a lack of a standardized system for ranking of condition. Each merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." In our opinion, lack of grading consistency among merchants is a major obstacle to growth in any hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

The commonly-accepted 10-point scale for grading  is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.

I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your item. As in any collectible, the better the condition of an item, the more valuable it is.

C10 = GEM-MT 10: Gem Mint
A Gem Mint 10 card is a virtually perfect card. Attributes include four perfectly sharp corners, sharp focus and full original gloss. A Gem Mint 10 card must be free of staining of any kind, but an allowance may be made for a slight printing imperfection, if it doesn’t impair the overall appeal of the card. The image must be centered on the card within a tolerance not to exceed approximately 55/45 to 60/40 percent on the front, and 75/25 percent on the reverse.
C9 : MINT 9: Mint
A Mint 9 is a superb condition card that exhibits only one of the following minor flaws: a very slight wax stain on reverse, a minor printing imperfection or slightly off-white borders. Centering must be approximately 60/40 to 65/35 or better on the front and 90/10 or better on the reverse.
C8 = NM-MT 8: Near Mint-Mint 
A NM-MT 8 is a super high-end card that appears Mint 9 at first glance, but upon closer inspection, the card can exhibit the following: a very slight wax stain on reverse, slightest fraying at one or two corners, a minor printing imperfection, and/or slightly off-white borders. Centering must be approximately 65/35 to 70/30 or better on the front and 90/10 or better on the reverse. C7 = NM 7: Near Mint 
A NM 7 is a card with just a slight surface wear visible upon close inspection. There may be slight fraying on some corners. Picture focus may be slightly out-of-register. A minor printing blemish is acceptable. Slight wax staining is acceptable on the back of the card only. Most of the original gloss is retained. Centering must be approximately 70/30 to 75/25 or better on the front and 90/10 or better on the back.
C6 = EX-MT 6: Excellent-Mint 
A EX-MT 6 card may have visible surface wear or a printing defect which does not detract from its overall appeal. A very light scratch may be detected only upon close inspection. Corners may have slightly graduated fraying. Picture focus may be slightly out-of-register. Card may show some loss of original gloss, may have minor wax stain on reverse, may exhibit very slight notching on edges and may also show some off-whiteness on borders. Centering must be 80/20 or better on the front and 90/10 or better on the reverse. C5 = EX 5: Excellent
Very minor rounding of the corners is becoming evident. Surface wear or printing defects are more visible. There may be minor chipping on edges. Loss of original gloss will be more apparent. Focus of picture may be slightly out-of-register. Several light scratches may be visible upon close inspection, but do not detract from the appeal of the card. Card may show some off-whiteness of borders. Centering must be 85/15 or better on the front and 90/10 or better on the back.
C4 = VG-EX 4: Very Good-Excellent
A VG-EX 4 card’s corners may be slightly rounded. Surface wear is noticeable but modest. The card may have light scuffing or light scratches. Some original gloss will be retained. Borders may be slightly off-white. A light crease may be visible. Centering must be 85/15 or better on the front and 90/10 or better on the back. C3 = VG 3: Very Good
A VG 3 card reveals some rounding of the corners, though not extreme. Some surface wear will be apparent, along with possible light scuffing or light scratches. Focus may be somewhat off-register and edges may exhibit noticeable wear. Much, but not all, of the card’s original gloss will be lost. Borders may be somewhat yellowed and/or discolored. A crease may be visible. Printing defects are possible. Slight stain may show on obverse and wax staining on reverse may be more prominent. Centering must be 90/10 or better on the front and back.
C2 = GOOD 2: Good 
A Good 2 card’s corners show accelerated rounding and surface wear is starting to become obvious. A good card may have scratching, scuffing, light staining, or chipping of enamel on obverse. There may be several creases. Original gloss may be completely absent. Card may show considerable discoloration. Centering must be 90/10 or better on the front and back. C1 = PR 1: Poor 
A Poor 1 will exhibit many of the same qualities of a Good 2 but the defects may have advanced to such a serious stage that the eye-appeal of the card has nearly vanished in its entirety. A Poor card may be missing one or two small pieces, exhibit major creasing that nearly breaks through all the layers of cardboard or it may contain extreme discoloration or dirtiness throughout that may make it difficult to identify the issue or content of the card on either the front or back. A card of this nature may also show noticeable warping or another type of destructive defect.
GLOSSARY OF TERMS

How To Grade Your Pulp Magazines

I believe someday all collectibles will be graded using a 10-point scale, and that this universality will be a factor in making collectibles a recognized investment like stocks and bonds. Grading services will exist for type of antique or collectible, and these grading services will enable a liquid marketplace for massive trading in collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.

Until the introduction of our 10-point system, the marketplace suffered from a lack of a standardized system for ranking of condition. Each merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." In our opinion, lack of grading consistency among merchants is a major obstacle to growth in any hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

Our 10-point scale for grading  is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.

I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your item. As in any collectible, the better the condition of an item, the more valuable it is.

C10 : M (Mint)
Perfect in every way, as though it came off the press just yesterday.
C9 : NM (Near Mint)
Slightly better than Very Fine but definitely not Mint. Many dealers use this grade as their highest grade.
C8 : VF (Very Fine)
Our highest grade. Sharp in every way, like new to near new. Not necessarily mint, but exceptional. Can not have any major noticeable defects. Can have tiny, minor defects. No tears, creases, or brown pages. No surface wear or scuffing. Spine should show no rubbing or wear of any kind. A small arrival date is allowable without being noted. Should be bright and clean, glossy with creamy pages. A brilliant, highly-prized state of preservation.
C7 : FVF (Fine to Very Fine)
Slightly better than Fine but definitely not Very Fine.

C6 : F (Fine)
A nice copy with perhaps several minor defects. Should have a complete and solid spine without tears or unusual wear. Defects that can be expected include: minor page browning or yellowing (severe browning is not allowed in this grade), light spine creases and minor edge tears. Defects that are not allowed in this grade are: heavy surface wear, pieces or large flakes missing, heavy spine wear, a rolled spine, insect or rodent damage. A small arrival date is allowable without being noted. Should appear clean and sharp with only a couple of minor detractions.
C5 : VGF (Very Good to Fine)


C4 : VG (Very Good)
A borderline magazine that is closer to VG than it is to G. The accrual of several described defects should move an otherwise VG item to this grade. C3 : G (Good)
A worn, creased, flaked example. Crumpled and worn corners. Tape, waterstains, brittleness of pages, pieces or chips missing, heavily rolled spine, etc., should be described but are certainly allowable in this grade, which is used to describe a low-quality example. This grade is probably the minimum grade acceptable to most collectors. C2 : FR (Fair)
Less than G. A terribly worn and dusty example with any major defect probably present. It should be noted that the item is complete, otherwise the buyer may assume that the item is not complete. The item may be described as a filler, or reading copy. Virtually unacceptable to most collectors.
C1 : P (Poor)
An incomplete, tattered, ragged, dreadful copy. The grade says it all - a bad copy. May be missing pages or parts of the cover and spine. May have a tremendous accumulation of other defects. The primary distinction between this grade and FR is that the P grade denotes an item that is not complete, while FR denotes an item that is complete.
GLOSSARY OF TERMS

How To Grade Your Hummel Figurines

I believe someday all collectibles will be graded using a 10-point scale. This universality will be a factor in making collectibles a recognized investment like stocks and bonds. Grading services will exist for every collectible hobby, and these grading services will enable a liquid marketplace for massive trading in collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.

Until the introduction of our 10-point system, the Hummel marketplace suffered from a lack of a standardized system for ranking condition. Each merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." In our opinion, lack of grading consistency among merchants is a major obstacle to growth in any hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

Our 10-point scale for grading is similar to systems already adopted in other markets. Basically, a 10.0 is like brand new and a 1.0 is in terrible shape. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

I welcome your feedback. Please email with comments and suggestions. My email address is jon@2ndmarkets.com.

I have outlined the grades, and described the requirements for each. These grading definitions are intended to help rate the condition of your collectible. As in any collectible, the better the condition, the more valuable it is.

Mint in Box 10.0     

Perfect, i.e. - brilliant, unusually bright, as new. Example is in brand new condition, includes the original box and all original paperwork (if applicable) that was included in the box at the time of original purchase. The box itself is in near-perfect condition and contains little, if any flaws. The item inside the box is in brand new condition and has no flaws.
Seldom used by professionals since it represents perfection...and perfection is extremely rare.
Mint 9.0 or M 9.0    

Virtually flawless. Superb.  Example is in like new condition, may or may not include the original box (if applicable) and may or may not include original paperwork (if applicable) that was included in the box at the time of original purchase. The box itself is in almost new condition but may possess a few minor flaws such as light corner dings, small creases in the box or even small scratches on the box. The item inside the box is in brand new condition and has no flaws.  


Near Mint 9.0 or NM 9.0    

Almost perfect. Item may have very slight crazing in an unobtrusive area of the item, but otherwise without any scratches, chips, nicks, dings, flakes, fading, or other flaws. Deep, rich color with excellent original patina and gloss.


Very Fine 8.0 or VF 8.0    

Very Fine 8.0 or VF 8.0 An exceptional example. Acceptable to all but the most finicky collector. This is a sharp, almost perfect example. The item may have very minor crazing but not on the face. The bottom of base may have numerous crazing cracks in the glaze. Otherwise, the item has no major defects but may not quite as bright as Near Mint. May or May Not have original box.

Fine Very Fine 7.0 or FVF 7.0    

Slightly worn. Although this example may or may not include the original box (if applicable, many early Hummels never came in a box), it also may or may not include original paperwork (if applicable) included in the box at the time of original purchase. If the box itself is present, it may not be in ideal condition The box most likely has several creases, tears, scratches, etc. However, the item inside the box is in almost new condition and has no chips, color flakes, or cracks. It may, however, have very slight crazing (hairline spiderweb thin cracks in the glaze).

Fine 6.0 or F 6.0    

Still quite fine without chips, cracks, color flakes or visible damage of any kind, but age crazing in a more significant amount than in the FVF 7.0 grade.

Very Good 5.0 or VG 5.0    

This example may have a minor color flake or two, some crazing, or a color scratch but has no major flaws such as chips or cracks or repairs.

Good to Very Good 4.0 or GD/VG 4.0    

Beginning to show signs of significant wear. Worn paint. Color flakes. Crazing to a degree that affects eye appeal. Scratches. But still, no repairs or cracks.

Good 3.0 or GD 3.0    

A worn, crazed, flaked example. This example is in visibly worn condition, and could have one or two minor flaws which may include small scratches or light paint wear. However, this does not includes cracks, chips or any missing pieces. The original box and any accompanying paperwork may or may not be present. Typically a filler-copy only.

Fair 2.0 or FR 2.0    

The lower grades are separated by degrees of damage. The accumulation of many defects lowers the item from the C3 grade down to the C2. This example is in used, displayed or handled condition. It most likely has been handled and may contain scratches, paint wear, minor chips, dings or even small cracks.

Poor 1.0 or PR 1.0    

Extremely worn, damaged or incomplete, although such should be noted. This example is in distressed condition... It may contain scratches, paint wear, chips, dings, cracks and/or missing pieces.

How to Grade Your Paperback Books

I believe someday all collectibles will be graded using a 10-point scale, and that this universality will be a factor in making collectibles a recognized investment like stocks and bonds. Grading services will exist for every collectible hobby, and these grading services will enable a liquid marketplace for massive trading in collectibles of all kinds. Collectors will view their collection “portfolio” as a source of retirement income in the same way that stock investors do today. EBay and similar sites will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.

Until the introduction of our 10-point system, the paperback marketplace suffered from a lack of a standardized system for ranking of condition. Each merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." In our opinion, lack of grading consistency among merchants is a major obstacle to growth in any hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

Our 10-point scale for grading vintage paperback rarities is similar to systems already adopted in other markets. By using a set of standardized grading terms, we can ensure the growth of the hobby now and in the future.

I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com.

I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your paperback. As in any collectible, the better the condition of an item, the more valuable it is.
C10 : AN (As New)
Perfect, i.e. - brilliant, unusually bright, glossy, white pages, sharp, pristine, etc. Seldom used by professionals since it represents perfection...and perfection is extremely rare. C9 : F (Fine)
Virtually flawless. Superb. For a book to receive this grade it may have only the slightest traces of wear noticeable upon very close inspection. Inside, the pages must be creamy, no trace of brown, and also there can be no name plates or other writing inside the book. Outside, the spine must be solid and clean with no fading. Very tiny amounts of wear to the spine may be present. No crease of any kind is permitted. The book appears to be perfect but upon close inspection tiny problems can be found. Generally, the highest grade found in the marketplace since C10 is an extremely rare grade. C8 : AF (About Fine)
An exceptional copy. Acceptable to all but the most finicky collector. This is a sharp, almost Fine copy. It can have no major defects but may have an accumulation of several minor ones, such as a tiny color chip on the spine or extremities. Other possible flaws might include a small, pencilled arrival mark on the cover on an otherwise Fine book. No creases. Pages can be slightly yellowed, but not brown. C7 : VGF (Very Good to Fine)
Slightly worn. Closer to VG than to AF, but still a very well preserved copy without major defects. Pages will not be brown, and no name plate or writing can be on the endpages. Light spine wear/flaking, or minor cover wear is the typical problems with books in this grade. A light reading crease along the spine or very minor corner crease might be present. C6 : VG (Very Good)
The typical used paperback in average condition. A solid copy, although with wear and defects to be expected. Unusual problems will be noted. The book can have very slight browning of pages but not brittleness or flaking; it may also have a small name written on an endpage, or a small nameplate. Minor peeling of the lamination covering the book can be expected, but extreme peeling will eliminate the book from this grade. A corner crease (1/4" or less) or two can be present, but numerous creases are not allowed in this grade. A light reading crease along the spine is normal for this grade. A minor spine roll is allowable, a heavy spine roll is not ailowable in this grade unless noted and the book is a higher grade otherwise. General spine wear can be expected, however, unusually heavy spine wear is not permitted in this grade. The spine should be complete and solid, if not - major problems should be described - such as a split spine. In any case, a spine split should be described to length and should eliminate the book from this grade if it is over 3/4" in length. Tape anywhere on the book is not allowed in this grade. A small pen mark on the cover can be present if noted, but not if large, heavy, or if affecting the eye appeal of the book. Dampstains prevent the book from being C6. One small arrival date is allowable without being noted, but any other writing on the cover should be noted. Sun-fading on the spine or cover should be described, and if significant, should prevent the example from the VG grade. Insect or rodent damage is not allowable in this grade. Price stickers or peel-marks from removal of a price sticker is allowable in the VG grade only when the area affected is small and not a serious detraction from the cover art. No color touchup with colored markers is allowable in this grade. C5 : VG- (Very Good Minus) C4 : GVG (Good to Very Good)
A borderline book that is closer to VG than it is to G. The accrual of several of the above mentioned defects should move an otherwise VG book to this grade. Books in this grade are similar in appearance to a VG book, but with heavier or more severe creases, flaking, etc. Minor dampstains are permitted in this grade. C3 : G (Good)
A worn, creased, flaked example. Crumpled and worn corners. Tape, waterstains, writing, brittleness of pages, pieces or chips missing, heavily rolled spine etc., are to be expected in this grade. Typically a reading-copy only, with all pages complete. C2 : FR (Fair)
The lower grades are separated by degrees of damage. The accumulation of many defects lowers a book from the C3 grade down to the C2. C1 : P (Poor)
Extremely worn, possibly incomplete, although such should be noted. GLOSSARY OF TERMS PBO - Paperback Original. A first appearance in book form. Would be described as a "First Edition" by an antiquarian book dealer. Should not be confused with the term "First printing" or "First Paperback". First printing - By default, it is customary in the hobby to assume a book is a first printing unless otherwise noted. It is encumbent upon the seller to accurately note the printing of any book he or she is selling. First Edition versus First Printing - A paperback book can be a first printing and not be an original (PBO) - i.e. when the First Edition is hardcover or appeared in an earlier paperback version.

How To Sell Platinum

There are some key facts buyers need to know when making a bid for your platinum coins or platinum rings. This article covers the basics.
 
COINS
Platinum coins are bullion coins. They do not have "rarity" or "collector" value. The value they have is in the platinum content. The key facts a buyer needs are:
Country  (example: Canada)
Denomination  (example: $100)
Weight (if known)   (example: 1 troy ounce)
Purity  (if known)   (example: 999 fine)

 
RINGS & JEWELRY
Most platinum buyers do not want diamonds and other gemstones. They just want the platinum.

Check The Stamping
Is the piece stamped with a purity stamp?  If not, most buyers will not touch it unless they have it in hand and can test it with an acid test. Platinum is usually at least 95% pure, the only purity that can be stamped “Platinum,” although it can also be stamped “950 Plat” or 950 Pt.”  If a Platinum ring is 90% pure platinum, it will be stamped “900 Plat” or “900 Pt.”  If a Platinum ring is 85% pure platinum, it will be stamped “850 Plat,” or “850 Pt.”

Jewelry that contains at least 50% pure platinum and at least 95% platinum group metals (platinum, palladium, iridium, osmium, rhodium, and ruthenium) is stamped with the platinum content and then the content of the other metal. For example, “600 Plat 350 Irid” or “600 Pt 350 Ir.” Jewelry that contains less than 50% pure platinum cannot be marked with the word platinum or any of it's abbreviations.

How much does the piece weigh, in grams?
Do you know how much each piece weighs in grams? Buyers need to know this key fact but can often work around it if you simply don't know. To get the best bid, weigh your pieces and be ready to supply this information. You can buy an inexpensive gram scale at Walmart or online at Amazon.com  (search "gram scale"). You'll need one that can weigh up to at least 50 grams.

Once buyers have these questions answered they can can make a bid, if you happen to have photos you can email, that would be a big help as well.
To get the best offer for your pieces, you must give the generally-accepted information that expert buyers require.

Questions to Ask Regarding Sterling Silver Holloware Tea Services and Other Sterling Serving Pieces

There are some key facts buyers need to know when making a bid for your sterling silver holloware and serving pieces. This article covers the basics.
 
Maker and Pattern
The maker will be names such as Gorham, Reed & Barton, Towle.  The pattern will be names like Chantilly, Royal Danish, Repousse. The words will be found stamped on the bottom of each piece in most cases.
 
Weighted or Open Base?
Are your pieces weighted or open? Meaning is the base closed and weighted with concrete or sand, or open or hollow bottomed? 

Stamped Sterling?
Is the piece stamped STERLING?  If not, it is 99% probable that the piece is not sterling silver, but rather silver plate.

What are the dimensions?
What is the height and width of each piece? In the case of platters and serving trays, what is the length?
 
How much does the piece weigh, in ounces or grams?
Do you know how much each piece weighs in ounces or grams? Buyers need to know this key fact but can often work around it if you simply don't know. To get the best bid, weigh your pieces and be ready to supply this information.

Once buyers have these questions answered they can can make a bid, if you happen to have photos you can email, that would be a big help as well.
To get the best offer for your pieces, you must give the generally-accepted information that expert buyers require.

A Brief History of the Danbury Mint

The Danbury Mint is a division of MBI, Inc. that markets a variety of collectibles. Danbury Mint historically marketed high quality medals and ingots produced by others exclusively for them. The company also sold numerous other collectible offerings including plates, bells, sculptures, etc. Danbury Mint is well known for their 1:24 scale die-cast vehicles, including a now discontinued James Bond's DB5.  
Their licenses include: Boyds, Coca-Cola, John Deere, Dept 56, Dr. Seuss, General Motors, Goebel, King Features, Looney Tunes, Major League Baseball, Mars, Inc., NFL, Gary Patterson, Peanuts, Pillsbury, Elvis Presley, Red Hat Society, The Walt Disney Company and Twentieth Century Fox Film Corporation.   History The Danbury Mint was founded in Westport, Connecticut by Ralph Glendinning and Ted Stanley in 1969, as a subsidiary of Glendinning Companies. Their first product was a series of medals commemorating the Apollo 11 moon landing. The Danbury Mint has since gone on to capture the legacy of landmark events, products and people though collectible figurines, collector's plates, dolls, and die-cast cars. Those legacies include the inauguration of President Barack Obama, Princess Diana, Shirley Temple, corvettes, Hummel figurines, and Christmas gold ornaments.   Danbury's first sister division was formed in 1970 under the name Postal Commemorative Society, recently changed to PCS Stamps & Coins. In 1973, both divisions were incorporated as MBI. In 1975 Easton Press was formed as MBI's third division, and MBI was spun off from Glendinning Companies as a separate company.  

What is the Rolex Model Numbering System?

In 1927, Rolex began issuing every Rolex Oyster case a unique serial number to distinguish them from one another. This numbering system is believed to have started at 20,000. Around 1953, the numbers reached the 999,999 mark, at which time Rolex decided against adding a 7th digit, thus continuing into the "millions"—Instead, they started the sequence over. While it was originally believed that this resequence started over at 100,000, or even 20,000, evidence suggests that it actually restarted at 10,000 or possibly lower. Around this same time, Rolex had initiated another dating system —They stamped the inside of the case back with a code consisting of a Roman numeral and two numbers. The Roman numerals were I, II, III, IV, which represented which quarter of the year the watch was produced. The numbers simply represented the two-digit year in which the watch was produced. Therefore, the code III 53 would represent the 3rd quarter (i.e. July-September) of 1953--this code continued until around 1970. In the early 1960s, Rolex once again reached the 999,999 mark, but this time added a 7th digit and continued until mid 1987, when the numbering reached 9,999,999. At this time, Rolex elected to start numbering with a letter prefix (e.g. R000001). The system started with the letter "R", which was then subsequently followed by L-E-X. Thus spelling out the word "ROLEX" with the "O" being omitted, to help avert any possible confusion with the number "0". This sequence continued through November 1991, when a new numbering system was introduced utilizing the letters N, C and S, which took them through 1993. In 1994, Rolex started yet another sequence with the letters: W, T and U, then A, P, and K in subsequent years. To add to the confusion, many of these prefixes have run concurrently over the past few years, giving the appearance of a random numbering system. Therefore, only Rolex knows exactly when any particular watch was made and they aren't talking.

The A-TEAM Action Figure Series by Galoob (1984 - 1985)

This toy line was based on the popular 1983 to 1987 NBC television series starring George Peppard as Col. John "Hannibal" Smith, leader of the team, Dirk Benedict as Templeton "Face" Peck, Dwight Schultz as "Howlin" Mad Murdock, and Laurence Tureaud as B.A. Baracus. Mr. Tureaud was much better known as the gold-chained star of screen, toy, comic book, trading card and motivational speech, "Mr. T". Galoob must have had a good thing going with these toys as they did them in both 3-3/4" and 6-1/2" sizes. These figures don't show up often and the rarest of them all is the last of the 6-1/2" line, Amy A. Allen, based on the female character portrayed by Melinda Culea.

eBay Now Reports Seller Revenue to IRS on Form 1099-MISC

Your good friend eBay will help you pay your taxes starting in 2011. Hey, they want to help you pay your fair share. This from a quote on the eBay website in their Community Forums section:

"For Tax Year 2011, eBay and PayPal are going to send out a form telling you and the IRS how much money you ran through them. The official threshold is $20k, but I would imagine PayPal will take the position that they report based on a much lower number, much like many corporation do now w ith 1099-Misc." (http://forums.ebay.com/db1/topic/Accounting-Assistant-Record/1099-Misc-Tax/510074131)

If you thought selling on eBay was the best way to get top dollar for your stuff, 2011 may be the year to reconsider. The cost of selling on eBay has steadily risen. Now, with the added requirement of calculating capital gains on one-time sales, it may no longer make sense to sell on eBay. If you have inherited or owned an old coin collection for many years, your "cost" is very low. Let's say you inherited a coin collection. Your cost is zero. You sell it on eBay for $20,000. After paying eBay and PayPal commissions and fees, you net $16,000 (roughly 20% in fees and commissions is pretty much standard now on eBay if you set a minimum or Buy-It-Now price). But wait, a year later at tax time you get a 1099 in the mail from eBay, a copy of which they have also sent to the IRS. Now you must calculate your capital gain tax. On a $16,000 net sale, at the 35% capital gain rate (standard), you will have to mail a check to the IRS for $5600.00. On that $20,000 sale, you actually get to keep only $10,400. You kick yourself because you turned down a cash offer from a buyer earlier in the year for $15,000 because you thought you could get more on eBay.

It now makes more sense to sell direct to an internet buyer who does not report to the IRS. There is no reason why anyone should expect to pay capital gains on one time, person-to-person sales. If you can find a trustworthy internet or local buyer, you are much better off selling direct than selling through a large marketplace like eBay.

eBay does not advertise or alert you to the fact that they are tracking your sales. The IRS keeps a very close watch over the eBay marketplace now that it has grown so large. Sellers should beware, Big Brother is watching. And eBay is helping.




Fender Guitars History and General Information

© 2010, used by permission
General Information             Leo Fender and Doc Kauffman began making K&F lap steels and amplifiers in Fullerton, CA, in the fall of 1945. Kauffman left in early 1946, and Fender continued as Fender Electric Instrument Company.             With the introduction of the Esquire and Broadcaster (soon to be Telecaster) in 1950, Fender became the first to successfully market solid body electric guitars. The first commercially successful solid body bass, the Precision, was introduced  in late 1951 and was even more revolutionary than Fender’s solid body guitars. The Stratocaster, introduced in 1954, became one of the all-time classic guitar designs. Fender amplifiers played a key role in the success of the company and in the growth of the electric guitar market. By the mid-1950s Fender rivaled Gibson as the leading maker of electric guitars, a rivalry that continues today.     Leo Fender sold the company to CBS on January 4, 1965. Although the instrument lines continued to expand until the end of the decade, the sale to CBS marked the beginning of a decline in Fender quality that lasted through the 1970s. CBS hired Bill Schultz (formerly of Yamaha) as president of Fender in 1981 and began a large-scale modernization of the factory that caused a sharp drop in production. Concurrently, in an effort to capitalize on the growing market for imported copies of Fender models, Fender and Japanese partners formed Fender Japan in May 1982. Initially Fender Japan made a line of vintage reissues marketed only in Japan and Europe. These were marked with a small Made in Japan peghead decal. A lower priced line, Branded Squier, was introduced in October 1983 for U.S. distribution. In March 1985 CBS sold Fender to a group headed by Schultz, which incorporated as Fender Musical Instruments Corporation. Production facilities were not included in the sale, however, and through most of 1985 Fenders were made only overseas. Fender resumed U.S. production in late 1985 in new facilities in Corona, CA, with a successful new line of American Standard models, Amplifier production was consolidated in Lake Oswego, OR, in 1985. Fenders are now produced in Corona, CA, and in Mexico, Japan, China, and Korea. Corporate offices and a custom amplifier production facility are located in Scottsdale, AZ. Comments             For most collectors and players, pre-CBS instruments are more desirable than later examples, although the demand for custom color examples has extended into the late 1960s.             Guitars: Esquires, Telecasters, and Stratocasters played a major role in the popularization of the solid body electric guitar. Examples from the 1950s and ‘60s are highly regarded by players and collectors. Generally, the earlier the example, the more highly sought, with custom colors bringing more than standard finishes.             Low-end Fender solid bodies are not generally highly regarded by collectors or players.             Coronados are not highly regarded by collectors or players, although the Wildwood models have some aesthetic appeal.             Montego and LTD archtop models are fairly rare and have some appeal to collectors.             American-made Fender flat-tops are not highly regarded by players.             Basses: The Precision was the first commercially successfully fretted electric bass and for almost four decades was the standard by which all other basses were judged. Early P-Basses are highly sought by collectors, although they do not bring as much as Telecasters, Esquires, and Stratocasters of the same period. P-Basses with split coil pickups (mid 1957 and after) are more highly regarded by players than those with earlier pickups.             By 1990 the sound of the Jazz bass had become the preferred sound, and demand switched accordingly from P-Bass to Jazz. Early Jazz basses with concentric knobs are highly sought by collectors. Terms Bakelite: Bakelite is a trade name for molded phenolic resin. It has become a generic term used for all similar materials, such as the Phenolite used for black pickguards on early Telecasters and Esquires. Bakelite is most common in black, brown, or white. It is somewhat similar in appearance to modern postwar thermal plastics, but is less shiny and more brittle. Although Bakelite should properly be capitalized, the term Bakelite (lower case) is commonly used in reference to Fenders and is used here to refer to Phenolite and to similar material used on early Stratocasters. Maple neck/rosewood fingerboard: The term maple neck refers to a 1-piece, fretted neck/fingerboard unit (with no separate fingerboard). The term rosewood fingerboard refers to a maple neck with a rosewood fingerboard. The maple neck with separate maple fingerboard is described as maple neck with maple fingerboard.   Learn more at Gruhn Vintage Guitars

A Brief History of Colonial American Glassblowing

In 1608, the first factory in America --- a glass factory --- was constructed in the Virginia colony of Jamestown. Its backers included Captain John Smith, the London Company in England, and even King James I. Sadly, the venture was doomed from the start. Most of the colonists were stylish gentlemen who refused to work, and the Indians offered no help. Besides, glass bottles were hardly a necessity for colonists in America. So the young country's first factory closed in 1609. But the London Company did not give up. In 1621, another glass factory was opened at Jamestown.

This time, the sponsors decided that the factory's products would include glass beads to trade with the Indians. But only Italian glassmen were experienced in the art of beadmaking. So, in spite of huge risks, eight Italian glassmakers were smuggled out of Venice and taken to the colony.

In 1622, Jamestown was attacked by the Indians and most of the inhabitants were massacred. But the factory was spared because the Indians wished the glassmakers to continue producing beads. Nevertheless, the venture failed yet again.

Eventually, other small glassmaking facilities were opened in New York, Pennsylvania, and Massachusetts. But it was not until 1739 that glassmaking became a full-fledged industry in America. By the time of the Revolution, America glass was famous for its quality throughout the world.

The Brief History of the Mail Order Industry in America

In 1872, Aaron Montgomery Ward started the first general merchandise mail order company in America, locating it in Chicago, Illinois. His first catalog consisted of one page listing 163 items. Since then, many companies have adopted Ward's marketing innovation.

The early growth of the mail order business was phenomenal because mail order houses made a greater selection of low priced merchandise available to rural Americans.

Mail order catalogs had, in addition to farm supplies, such items as folding metal bathtubs, stereoscopes, men's collars and cuffs, ocarinas, high button shoes, and "indestructible" malleable iron toys. These catalogs were filled with so many fascinating items that they became known as "wish books."

As the population moved from farms into cities, the mail order houses changed their marketing methods. They began distributing catalogs and opening both catalog sales offices and retail outlets in urban areas. Fewer farm items and more personal and household products were added each year. Today, even with shopping centers within minutes of nearly everyone, the mail order industry is still booming. The ease and comfort of shopping at home appeals to many people.

Ranging in size from small firms that only sell a single product to the large general merchandise mail order houses, some cataloging nearly 135,000 items, thousands of companies use mail order.  In all its forms --- catalogs, newspaper and magazine ads, letters, radio and television commercials, and all other methods of securing orders which are then delivered by mail --- the mail order business accounts for about $30 billion in retail sales yearly.


Can I get paid the full "Silver Price" or "Melt Price" for my Silver?

Many sellers think they should be paid the actual spot silver price for their sterling silver medal or ingot collections. Unfortunately, the economics of this business do not work that way. This post attempts to respectfully explain a few realities of the silver market that many novice sellers are unaware of:

1) Sterling silver is not pure silver. The "silver price" in the newspaper is for pure silver. Sterling is 92% - so buyers must deduct for this fact. Most limited edition medals sets by Franklin Mint, Danbury Mint and others are made from sterling silver, not 999 pure silver. Of course, for sets made of 999 pure silver, no deduction is made.

2) Many people think they have more weight than they actually do - an ounce of silver is a troy ounce, which contains 31.1 grams. If one weighs a set on a bathroom or kitchen scale, the weight one gets is a "standard" ounce, or 28.5 grams. This makes a 10% over count in the weight. This is a common mistake novice sellers make.

3) There is no place one can take an ounce of silver and get "the silver price". You can NOT get the silver price from your local bank. There is no legal right for the owner to get at least the "silver price" when selling silver. The so-called silver price printed in the newspaper and online is the price for the most recent COMEX futures contract from the Chicago Commodities Exchange Silver Futures Contract. A silver contract on the Comex is 5000 ounces of pure silver. One must have 5000 ounces of PURE in order to expect the "silver price." Even then, one must deliver the 5000 ounces of pure to the floor of COMEX in Chicago before the expiration date of the contract in order to get the so-called "spot" price. So, to be clear, no one but the largest commodities firms in the world actually realize the so-called "melt price" of silver. It is a common misconception.

4) Many sellers think that there must be a "collector premium" attached to limited edition medals sets, or a numismatic value. We get this from sellers all too often (daily). Nothing could be further from reality. But don't take the word of an online article. Prove it to yourself. Look at the COMPLETED AUCTIONS on ebay for Franklin Mint silver (using the ADVANCED SEARCH link). You will see that in general the sets will sell for less than their silver value. And this price fetched on eBay does not reflect the 20% that eBay takes in fees and commissions. If you get 95% of the silver value on eBay, you will only deposit 75% of the silver value into your bank account after eBay takes their fees. These sets are very common and no one pays any kind of "antique" or "numismatic" premium for them. We are a top buyer on eBay and buy many sets every month at well below silver value.

5) Dealers must make a profit in order to stay in business and compensate themselves for their time. With eBay and other online marketplaces taking as much as 20% commission for use of their marketplace, dealers must calculate these costs into their inventory purchases. Most dealers resell on eBay. We do not, we have a 30 year list of contacts with whom we deal. That's one reason we are able to pay more than other dealers.

I hope this brief tutorial helps clear up some of the confusion sellers often have when calculating the fair market value of their silver collections.

The Best of the West Action Figure Series by Marx (1965 - 1976)

These large-sized "movable" 11-1/2" soft plastic figures of Johnny West and friends was one of the longest running action figure series in history. It was produced by Marx starting in 1965. The figures came with plastic accessories and clothing. Some very rare figures exist that were only available in England and Canada, making the series difficult for U.S. collectors to complete.

A number of box variations were used over the years, but the figures remained basically the same. For most of the years there was no uniform or logo or packaging style and series names such as Johnny West Adventure, Collection or Series appeared on some of the packages, or no series name was used at all. Unlike most other series, these packaging variations have no effect on value. The five Fort Apache Fighters figures are a sub-series. The four 9" figures are West kids, not a smaller scale line. The last figure in the series, Jed Gibson, a black cavalry scout, is the scarcest and most valuable figure in the series. There were also three figures that were only produced in Canada and/or England.

Prepare For Success! How To Make An Inventory List of Your Sterling Silver Flatware

As one of the leading buyers of sterling silver flatware in America, we get hundreds of requests for purchase offers every month. We love the opportunities, but sometimes the description of the collection lacks detail and thus delays our response. We respond most quickly to those who have included the information we need.

Caution: Before making your list, please verify that your flatware is marked STERLING (read our article about this here: http://www.soldster.com/learn-about/Article.aspx?id=199).

When preparing to sell your sterling silver flatware, please provide the following information in your inventory list:

Maker Name:
Pattern Name:
Inventory List:
Type                Length         Quantity           Solid Sterling or Partial Stainless

Teaspoon          6"                 12                    solid
Dinner Knives   9"                 12                    blades are marked stainless
Dinner Forks     7-1/2"           12                    solid SS
etc
etc

It is not enough simply to state the quantity of each piece you have. Within a given pattern, take PRELUDE for example, the size of the various pieces varied over the years, and this definitely affects value. We can often date a piece simply by its length!  So, size DOES matter when it comes to sterling flatware.

Armed with a well-prepared inventory list, we can make an intelligent offer without requiring you to ship your flatware to us first.


Good Luck! We look forward to the opportunity to do business with you!

Is It Sterling or Is It Silver Plated? or How Can I Tell If My Silver Flatware Is Sterling Silver or Plated?

Sterling Silver flatware manufactured in America after 1849 is ALWAYS stamped with one or the following markings:
  • The word STERLING stamped on it
  • 925 stamped on it
  • STER stamped on it.
If, for example, your flatware is stamped "Wm & Rogers" and "IS", it is not sterling silver. The IS merely indicates "International Silver" which was the company that actually manufactured the set. Because the pieces have no stamping to indicate Sterling, they most definitely are NOT sterling. Manufacturers never neglected to mention the word Sterling on their pure silver sets, while they always "neglected" to mention the lack of purity on mere plated material.

British sterling carries 4-5 stamped hallmarks identifying the company, the location, date of manufacture, etc. These can be matched with photos in the silver hallmark database (google it). Similarly, American manufacturers employ hallmarks or sponsor's marks that can be identified by matching photos.

The first patent for silver plating was issued in 1840. Older pieces are sterling, although they may not be stamped as such.

Some of the early makers of silverplate flatware were Rogers Bros, Rogers & Bros. FB Rogers Silver, Wm Rogers, the Meriden Britannia Company, Middletown Plate Co. (Superior Silver Company) and others. Many of these names were used well into the 20th century. In 1898, this group of companies formed the International Silver Company.

Some of the silverplate manufacturers also released sterling patterns, but these are stamped "sterling," whereas the plate is not. Many of the sterling pattern numbers are recorded in a database or databases.

Some of the stamps used to distinguish silverplated tableware are: IS (International Silver), IC, Brittania, EPNS (Electical Plated Nickle Silver), A1, Triple Plate, 3x, Quadruple Plate, 4x, Silver on Copper, EP, EP on Copper, and a whole host of initial and pictorial marks that can be matched with pictures in the silverplate database.

Myth #1: Silverplate is magnetic; silver is not. In truth, neither is magnetic. Stainless steel shows varying degrees of magnetism.

Myth #2: Silverplate doesn't tarnish like genuine silver. In truth, both will tarnish, because both are genuine silver. The difference is, sterling is sterling silver all the way through; plate only has a thin skin of silver over a base metal. Stainless steel doesn't tarnish.


What's Silver-Plate Worth?

Silverplate has no scrap value. Even the thickest plate is only about .20mm (8/1000th of an inch) thick, and refineries won't buy it because the process of reclaiming silver from plate is too expensive.

How Can I Tell A Copper Penny from a Zinc Cent?

If your Lincoln Memorial penny has a date before 1982, it is made of 95% copper. If the date is 1983 or later, it is made of 97.5% zinc and plated with a thin copper coating. For pennies minted in 1982, when both copper and zinc cents were made, the safest and best way to tell their composition is to weigh them. Copper pennies weigh 3.11 grams, whereas the zinc pennies weigh only 2.5 grams. Be sure to use a scale that is accurate enough to detect the tenth of a gram (0.10) or better. If you weigh a zinc penny on a scale that can only register full 1 gram increments, the penny will usually display 3 grams, since the scale rounds the 2.5 gram zinc penny upwards to 3. The wrong type of scale can be misleading when you are trying to sort copper and zinc pennies.

Epiphone Guitars History and General Information

© 2010, used by permission

Epiphone traces its history to Anastasios Stathopoulo, who began making violins, lutes, and lioutos (traditional Greek instruments) in Sparta, Greece in 1873 (according to company literature from the 1930s, although he would have only been 10 years old). Stathopoulo’s family relocated to Smyrna, Turkey, in 1877m where he eventually established an instrument manufacturing business. To escape persecution, Anastasios moved his family to New York in 1903.

Stathopoulo’s instruments were labeled A. Stathopoulo. After his death in 1915, his sons Apaminondas (epi), Orpheus (orphie), and Frixo carried on the business, introducing the House of Stathopoulo brand in 1917. They incorporated in 1923 and concentrated on banjos, introducing the Epiphone Recording Series banjos (named after Epi) in 1924. They changed the company name to Epiphone Banjo Corporation in 1928.

Epiphone was best known in the 1920’s for highly ornamented Recording banjos. In the 1930s Epiphone became virtually the only banjo company to make a successful changeover to guitars as its primary product. Epiphone also supplied guitars for other distributors under the Sorrentino and Howard brands. The name of the company was changed in 1935 to Epiphone, Inc.

Epi Stathopoulo died of leukemia in 1943, and the company never fully recovered from his death or from the effects of World War II. C.G. Conn, a band instrument manufacturer and instrument distributor, acquired some control over Epiphone distribution and production in 1953 and moved production in part to Philadelphia, although labels continued to say New York. Orphie Stathopoulo regained control in 1955, but few instruments were made from 1956-57.

Chicago Musical Instrument Co., which owned Gibson, acquired Epiphone in 1957 and moved production to a facility near the Gibson factory in Kalamazoo, Michigan, Gibson introduced new Epiphone models at the annual trade show in 1958 and began shipping Epiphones in 1959. In 1960 production was moved to the newly expanded Gibson factory at 225 Parsons Street.

CMI was taken over by the ECL company in December 1969. Shipping records show a little over 800 Epiphones shipped from Kalamazoo in 1970. That same year, ECL (soon to be renamed Norlin) outsourced all Epiphone production to Japan. In 1979 Norlin began moving epi production to Korea, and by the mid 1980s almost all Epiphones were made in Korea.

Epiphone and Gibson (headquartered in Nashville since 1984) were acquired in 1986 by Henry Juskiewicz, David Berryman, and Gary Zebrowski. By the early 1990s, Epiphone had become a leading import brand. In 2002, Epiphone opened its own factory in China. The high-end Elitist line is produced in Japan. Occasional limited runs have been produced in Gibson’s Nashville and Montana Facilities.

Comments

Archtops: Recording models were Epiphone’s earliest high-quality guitars. They are hard to find in good condition, and are sought more by blues players and collectors than by jazz or folk players.

Pre-1937 Epis are of very high quality and generally much scarcer than later models. They are of considerable interest to collectors. They have a smaller body and a less-modern neck feel than later models and consequently are less sought by players for utility use.

Models made from 1937 (when body sizes were increased) to the end of New York Production in the mid 1950s are the most highly regarded by collectors. Most desirable are the professional-grade models on which the company built its reputation: Emperor, De luxe, Broadway, and Triumph. Hese models, along with Gibsons, are viewed by most collectors and musicians as the best factory-made archtop guitars ever produced. Low-end models are regarded as excellent instruments for serious amateurs.

Flat-tops: New York – made from flat-tops are of good quality, but they never achieved the recognition of Epi archtops or the flat-top guitars made by Gibson and Martin. Gibson-made flat-tops are fully equivalent in quality to similar Gibson models of the same period. Dreadnoughts are the most highly regarded, especially those from 1958-61 with New York-style necks and non-adjustable saddles. Most desirable is the Excellente, which is fancier than any Gibson dreadnought flat-top of its time and rivaled only in the Gibson line by the super jumbo J-200.

Electric archtops: New York – made epiphone electrics are interesting but generally are not nearly as highly regarded as the equivalent acoustics, which have solid carved tops and backs rather than the laminated construction of the electrics. Also, the electronics on New York Epis are not of high quality compared to Gibsons of the same period or to the later Gibson-made Epis. Consequently, New York Epi electrics bring less than Gibsons or equivalent Epi acoustics. Early Gibson Epis with New York pickups are of interest to collectors. Most hollowbody Epi electrics bring less than the equivalent Gibson models.

Double-cutaway thinbody electrics are the most highly sought, particularly the rare Emperor (66 total made) and the early blond-finish Sheraton. Sheratons with New York pickups are highly sought, though not for sound. The Riviera, though equal in playability and sound is not nearly as sought after. The Casino is associated with the Beatles and brings as much or more than the equivalent ES-330.

Solidbodies: Some collectors are interested in early solidbody models with New York pickups, but not for their sound. Later solidbodies with mini-humbucking pickups bring less money than their Gibson equivalents, which have standard size humbuckers. None is especially valuable, although the workmanship on Epiphones is equivalent to that of Gibsons.

Basses: Epiphone electric basses are not especially sought by collectors or players, although their workmanship and playability is fully equivalent to Gibson instruments of the same period. The embassy Deluxe is the Epiphone equivalent to the highly sought Gibson Thunderbird basses, and it has the potential to gain some of the appeal that Thunderbirds hold for collectors and players.

Epiphone upright basses are considered to be among the finest laminated-construction basses. It was Epi’s bass production capability that sparked Gibson’s interest in acquiring Epiphone in 1957. Although Gibson shipping records show a fair number of basses produced (644 total), Gibson-made Epi-basses are seldom seen.

Steel: Epiphone lap steels were good utility instruments for their time, but their pickups make them less desirable today than many Fender, Gibson, Rickenbacker, National, and Supro models. The models of greatest interest to collectors are those that are rare, aesthetically appealing, or historically interesting, such as the Model M, Rocco, and Varichord.

Mandolins: The Windsor, Windsor Special, and Artist mandolins, along with all Epiphone mandola and mandocello models, are extremely rare. They are of great interest to collectors as well as players. Of the models made in significant numbers, the relatively rare Strand garners the most interest from collectors. The Strand and Rivoli are regarded by players as quality instruments. The Adelphi is the most commonly seen Epiphone mandolin and is not highly regarded.

Banjos: Early models (pre-Recording Series) are well-made instruments, but because of their open back, short scale (tenors), large head, lighter tone ring, and lack of metal coordinating rod, their appeal is primarily historical. Recording Series banjos, particularly, those from 1927-c.35 with the metal coordinating rod and heavier flange, are regarded by tenor players to be among the finest of the period. They represent the golden age of the tenor banjo and are among the most ornate and most highly sought banjos of their period. Of the Gibson-made Epiphone banjos, only those with the Mastertone (Minstrel and plantation) have significant appeal.

Learn more at Gruhn Vintage Guitars

Bing & Grondahl (B&G) Figurines and Collectibles

Bing & Grøndahl was a Danish porcelain manufacturer founded in 1853 by the sculptor Frederik Vilhelm Grøndahl and merchant brothers Meyer Hermann Bing and Jacob Herman Bing.[1] The trademark backstamp for Bing & Grøndahl (B&G) porcelains is the three towers derived from the Coat of Arms of Copenhagen.[2] The company's Seagull dinnerware series became known as the "National Service of Denmark" in the 1950s when it was found in one tenth of all Danish households. In 1987 the company merged with its primary competitor, the Royal Porcelain Factory under the name Royal Copenhagen.

History

Bing & Grøndahl was founded on April 15 1853 by Grøndahl, who was a figurine maker for the Royal Danish Porcelain Factory, and the Bing brothers, who were art and book dealers. The factory was located on the corner of Vesterbrogade and Rahbek Allé in the Vesterbro area, at that time outside the city of Copenhagen, Denmark. Grøndahl initially began the company to produce bisque figurines modeled on the neoclassical sculptures of Thorvaldsen. The company extended production to include high style dinnerware and coffee sets.

The company's signature design, Seagull, was created in 1892 by designer Fanny Garde (1855-1925). The modest, classic design features flying seagulls against pale blue backgrounds, sea horse handles and shaded patterns of scales around the edges. Due to its popularity from the 1950s to the 1980s, the Seagull design was considered the "National Service of Denmark". During that period one out of every ten Danish households owned some of the dinnerware service.

In 1895, Bing & Grøndahl created the first in their series of Christmas plates. Designed with a traditional winter scene in cobalt blue and white, the plates have been released annually for more than 100 years. Noted as desirable by collectors, this series became responsible for a large portion of the company's production.

In 1987 the company merged with its primary competitor, the Royal Porcelain Factory under the name Royal Copenhagen.

The Trademarks and Their Kin

   Because the subject of Goebel trademarks used on M.I. Hummel figurines can be either simple or complex, let's consider it that way.    Let's deal with it in two parts, which we'll call the short course and the long course    But we'll preface both parts by repeating, again, that it's difficult to use this or any other price guide on Hummel Figurines without a rudimentary knowledge of the trademarks (TM's) and how to identify them on a figurine.

   Outside of condition, trademarks are the most important factor in determining values and prices on M.I. Hummel figurines. A figurine such as Cinderella(mold 337) may be worth up to six times more in TM4 (trademark 4) than it is in TM7, for instance.    If you have acquired an older Cinderella, this information won't help you unless you know how to identify which trademark was used on your figurine.    Many people seem to be intimidated by having to learn the "Hummel marks."    Don't be one of them. It's really rather simple, and, if you don't already know the system, we're here to explain it.

   The Short Course

   While Goebel has used numerous different marks to stamp its factory "brand" on M.I. Hummel figurines, these have been consolidated by common usage into seven distinctive TM eras, beginning with the very first Hummel figurines in 1935 and ending with the figurines leaving the factory in Germany as you read this.    These TM eras are what you will find referenced repeatedly in this book as TM1, TM2, TM3, TM4, TM5, TM6 and TM7.    If a figurine you are examining has a back stamp under the base matching one of these trademark designs, you should have no trouble identifying the TM era in which it was produced.    If we do a skin-deep examination of the TM eras, here's what we'll find.

   TM1. This is the so-called crown mark era which identifies the earliest (and usually most valuable) Hummel figurines. The crown itself had been part of the company's trademark for decades, and the WG entwined initials honored William Goebel, a founder of the company.    The era extends from the beginning of production in 1935 through the World War II years to 1950, but...    In the 1946 - 1948 period after WWII, Hummel figurines were commonly marked simply with some sort of U.S. Zone mark, a postwar mark used to identify the items as coming from the U.S.-controlled region of divided Germany.    These U.S. Zone marked figurines, coming as they did within the crown era, are valued and priced as TM1 pieces.

   TM2. In 1950, Goebel officially adopted its now-famous full bee mark in honor of Sister Maria Innocentia Hummel, who had died four years previously.     The bumblebee in the mark represents Sister Hummel, Hummel being the German word for bumblebee. The V in which the bee flies stands for Verkaufsgesellschaft, or distribution company.    The TM2 era extends through 1959. Through 1955, the bee is quite large in relation to the V and is easily identified. From 1956 through 1959, it was diminished in size, and its placement in relation to the V was changed several times.    Common to all TM2 era pieces, however, is a bumblebee that looks like a bee. That is contrary to...

   TM3. The so-called stylized bee era begins about 1957 and ends officially in 1972. The bee now can be identified simply as a round dot with wings.    Though the trademark wasn't officially put aside until 1972, it wasn't used as often after 1964 as the concurrently running...

   TM4. This is the so-called three-line mark - always easily identified on a figurine by the use of the stylized bee inside V mark in combination with three short lines of text to the right of the V as you view it.    The TM4 era officially extends from 1964 to 1972. The three lines mark is said to be the prevalent mark in the years its use overlapped that of the stylized bee.    In 1972, it gave way to...

   TM5. This is sometimes called the last bee mark and at other times the Goebel bee mark. It was officially used from 1972 until 1979. It was adopted to help identify Goebel as the producer of the M.I. Hummel figurines, for the figurines had developed such a strong identity that many did not associate them with a maker.    This trademark varied little in the era in which it was used and can be easily identified by the word positioned above the letters be, and by the small text W.Germany centered beneath.    It represented the last use of the bee in any form, because in 1979 Goebel adopted...

   TM6. In use from 1979 through 1990, this mark incorporates the text Goebel with its now-familiar registration symbol and, again, the small text W.Germany centered beneath.    The purpose for the dropping the bee with V altogether hasn't been detailed, but I think it probably had to do with Goebel's desire to strongly promote other products it produced. By closely identifying Goebel with Hummel, it could be argued, the immense popularity of Hummel could be conveyed through the Goebel name to other Goebel-made figurines.    The change also came at a period that may have been the heyday in Hummel/Goebel popularity. In the late 1970s and early 1980s, retailers were fighting over available product, as the company could not produce enough to meet demand.    In 1989, the Berlin Wall fell and West Germany subsequently became Germany again. The small line of text in the trademark needed to be altered, so why not just create...

   TM7. For a combination of nostalgic and promotional reasons, Goebel in 1991 resurrected the Crown with WG initials mark, but incorporated it as the bottom tier in a three-tiered trademark topped by the large word Goebel, under which is the smaller word Germany to indicate country of origin.    This mark is found on figurines of contemporary production and is quite easy to identify.

   The Long Course

    Now, if the short course sounds a bit too simple to be true - if you think there might be a bit more to this trademark thing - you're right on. Here, we'll reexamine the TM eras to see how they relate to figurine values.    Warning: we'll deal somewhat in suppositions, so if you feel like you've been saturated with all the trademark data you can handle, it's time to tune out.

   TM1

   The crown era, as we have seen, begins with the first production of Hummel in 1935 and continues all the way through the decade of the 1940s.    It is documented that the earliest pieces were nearly always marked with what is called the wide crown WG mark in its incised form. (The WG initials in the company of a copyright symbol can also sometimes be found on the side or top of the base of a model.)    The incised mark is usually colorless    Soon thereafter - but we don't know exactly when - the company also began applying the mark with the use of a print under glaze (PUG) decal, commonly referred to as the stamped crown mark.    This printed or stamped crown mark will normally be either blue or black. (There is a very limited range of mineral colors which will print under glaze.)    Not infrequently, Hummel figurines will be found marked both with the incised and the stamped wide crown WG mark. These examples are referred to as "double crown" figurines. They are highly prized by advanced collectors and usually command a modest premium in price.    From 1937 to 1945, the wide ducal crown with Goebel mark (also called the narrow crown mark) became prominent for a while on certain Goebel products. However, the products did not normally include figurines, and the mark is thought to be rare to nonexistent on Hummel figurines.    Before advancing beyond the World War II years, there are factors which should be considered. They help explain why early crown-marked Hummels in good condition are so rare and valuable today.    We can start with the supposition that, in the 1930s, Hummel figurines were not produced in anything resembling the abundance of later generations.    Produced by a major manufacturer and of obvious appeal, the figurines were no doubt well received. However, the prewar 1930s period was not one of voluminous export from Germany to the U.S., where the M.I. Hummel figurines would later find their greatest market.    Moreover, it can be assumed that production was abated in almost direct proportion to Germany's military buildup of the late 1930s. This may be reflected somewhat in the history of the molds themselves.    A quick, rough count shows some 33 new models were credited to the year 1938. In 1939, this figure is 17. In 1940, it is nine.    In 1941, it is six, two of which were never produced. In 1942, it is three. In 1943, it is 11, eight of which were never produced.    In 1944, a single mold was produced, and it wasn't until 1948 that such production again hit double figures.    Figurines produced by Goebel during the World War II years bore the crown mark, but it's very unlikely they were produced in any abundance.    The point is that M.I. Hummel figurines made between 1935 and 1946 - never plentiful by today's standards - needed to survive the physical tumult of a world war, dislocations, shipping to the U.S., and more than 50 years of wear and tear in order to sit today on collectors' shelves looking new and fresh from the factory.    Not many did.    The remainder of the TM1 era - the post war years of 1946-1949 - formed a new, important epoch in the history of the Hummel figurine as a favorite American collectible.    Its mission to conquer Germany completed, the American military began the task of reconstructing its part of the country, which fortunately included the Coburg/Roedental area where the Goebel factory is located.    From 1946 to 1948, figurines intended for the U.S. market (for practical purposes, the only market of this period) were marked with several U.S. Zone, Germany back stamps, usually with print under glaze decal but sometimes stamped over the glaze.    The U.S. Zone, Germany mark definitely dates any TM1 Hummel to postwar production. Quite often, however, it is accompanied by one of the crown marks. And, it is even known to be accompanied on one figurine by both the crown mark and the full bee mark (TM2)!    The more important happening of the postwar period, however, was discovery of Hummel figurines by American servicemen and their families.    Oh, it wasn't just Hummels they discovered. With the war and the efforts to destroy Germany over, there came the time to study, appreciate, and enjoy the country's treasures.    This seeking of treasures coincided with a time when the German people had little in mind except restoring order to their lives. To most Germans of the period, nonessential possessions held little importance.    Americans bought cheaply and bartered favorably for classic Black Forest clocks, for wonderful antique German steins, for exquisite Meissen porcelain, for original works of art, for woodcarvings and ivory carvings - and, of course, for M.I. Hummel figurines.    For the most part, this is how the bulk of the early Hummels came to America - in the company of or shipped by American servicemen in the years of 1946 through about 1972. During this extended period, Germany's finest goods were cheap, and the German people were more than willing to part with them.    (Today, there are literally caravans of German antiques dealers scouring the U.S. for these clocks and steins and Meissen pieces and art and carvings and Hummels to send them back to a rapidly growing German/European market.)    Before we leave the TM1 era, there are still other important things to note.    First there was a period, say 1948-1950, when the crown mark was used without the U.S. Zone mark. Surviving examples of this marking will likely be indistinguishable from the pre-1946 pieces if they were produced in both periods.    Second, we discover early on that there is a major overlap in the TM eras. Recall, we said, "In 1950, Goebel officially adopted its now-famous full bee mark in honor of Sister Maria Innocentia Hummel, who had died four years previously."    However, it has been verified that the full bee mark was used on at least some pieces as early as 1948, two years before its supposed inception.    A few paragraphs back we alluded to a figurine marked with the crown, full bee and U.S. Zone marks. Note this occurred even though, officially, the U.S. Zone mark was not used after 1948 and the full bee mark was not used before 1950.    In his book, Luckey's Hummel Figurines and Plates, Carl F. Luckey does a fine job in explaining the progression of trademarks, and he says: "The dates of the early trademark changes are approximate in some cases, but are probably accurate to within 5 years or so." Five years or so!    Almost assuredly the crown mark appears on a number of figurines which were actually produced in 1950 or later. It appears frequently in combination with the full bee mark on a single figurine.    (Best rule of thumb for these TM1 + TM2 marked figurines: Price or value them on the TM1 scale as they are considered to be made during the crown era.)    Finally, you should understand that the TM1 era did not come to an abrupt end. At some point around 1950, Goebel was busy phasic in its full bee mark and shipping out the last supply of figurines bearing the crown mark. We do know that figurines first introduced after 1949 are not found with the crown mark.    A point made repeatedly in this book is that these phase-in periods - when one trademark was phased in to replace its predecessor - should be of great interest to advanced collectors because they created trademark scarcities and rarities.    In the TM1 era, for instance, it can be assumed that any figurine first introduced on the market in 1948 or later will fit somewhere between relatively scarce to quite rare in TM1.    After all, it could not have been in production long, and only so may pieces would have been manufactured before the total change to TM2, which we'll take up next.    (Footnotet: The crown mark was used for an unspecified period and on an undetermined number of pieces both in 1960 and in 1969-1971 in conjunction with the prevailing mark in order to protect Goebel's copyright of the mark. Examples on Hummels must be few as they seldom turn up.)

   TM2

Sister M.I. Hummel and Her Art

   It is very difficult for me, in writing this chapter, to know where to start this story. Sister M.I. Hummel. So many accomplishments, such a short life span. It seems almost impossible that this story is about a single, frail, ever-so-gentle lady.    Which Sister Hummel will I start with?    How will I explain this Berta Hummel, who was affectionately called s'Hummele or Bertl by her family? What do I say about a child, long gone, that was so alive and has so much zest for living?    Should I start with Miss Berta Hummel the artist, outstanding in her craft, with a bright future - a pretty young lady, so vibrant, always attentive to the needs of her fellow man and yet ready for a prank whenever the opportunity presented itself?    Should it be Maria Innocentia Hummel, the nun, the lady who gave up rich worldly promises for her religious belief?    Or, should it be the accomplished artist, the artist so extraordinary that entire museums have been dedicated to her life and creations?    And then, there is the lady, one so full of love, so full of caring that she kept on loving and caring even in times when the world only seemed to know hatred!

   I do not favor third-person biographies because it is so difficult to do justice to the subject. But I was asked to do this, so I will attempt to share what I have learned and what I feel about this lady and her art. The lady, I must add, is one whom I have learned to admire, and, yes, to love very much.

The only way I feel I can adequately perform this task is to let Sister Hummel's art assist me. I have found that is speaks well enough for its creator. Be reminded that I am not an accredited art critic nor historian, so if, in this attempt of sharing, I should make a mistake, I ask for forgiveness. It will have been an honest one.

   The Early Years

   Bertl. Little Princess. s'Hummele. If you are of German heritage, you will recognize these are endearing nicknames given to one much loved. They were the nicknames used for Berta after she was born May 21, 1909, in the small town of Massing in Lower Bavaria, Germany, the third of six children born to Adolf and Viktoria Hummel.

   From what I have been told by her brother Adolf, this little girl was an individualist from the earliest days of her life. She was not easily controlled

   When I asked Adolf when his sister first started to draw, his answer came quite quickly: "She was born with a pencil in her hand!" When Berta was a mere toddler, he explained, she would find a way to get to her daddy's desktop and, pencil in hand, "decorate" his work for him. She would "decorate" everything in the vicinity while she was at it!

   On another visit to Adolf shortly before his death in 1992, I was allowed to look through the family album and spotted a picture of blonde little Berta seated on a chair as if one a throne. Under the photo, her proud father had written the words Little Princess.

   In southern Germany and Bavaria, it is very common, in fact customary, to impart pet names to those for whom we deeply care. Ideally, the pet name reflects t he personality of the individual. The nickname Hummele must have been perfect for young Berta. It means little bumblebee, and we can readily imagine that Berta was one busy little girl.

   The nickname Bertl is also fitting. It's an endearing diminutive of Berta, a more informal way of addressing her.

   By the time s'Hummele started school, her creations already showed much promise for the arts and the theater. Creating fashions for her dolls was yet another favorite pastime, and there was early passion for nature and religion. Mr. Hummel often took his children on field trips into the countryside to teach them about God's creations. Afterwards he would encourage them to recreate these experiences and discoveries on paper.

   When World War I broke out in 1914, s'Hummele was stricken. Her father was called to serve in the Germany army, and he was terribly missed by this little six-year-old. His guidance, love, encouragement, understanding and discipline had been taken from her young life.

   No child at such a tender age can understand chaos of this nature, and Bertl began to show signs of willfulness, often trying the patience of teachers at the convent school in her hometown. Despite this, one of the teachers saw something very special in the child, deciding to do what she could to foster the talents of this youngster.

   Through the efforts of this lady, Berta was enrolled in a religious boarding school, the Institute of English Sisters, in the nearby town of Simbach. This took place on May 2, 1921, when Berta was 12 years of age.

   Here I would like to interject and share a story that might add insight to what life was like for this little girl during the war. She was nine at the time, and she in in a photograph since donated by Adolf Hummel to The Hummel Museum. In the photo, she's dressed all in white, flowers in her hair, holding a candle.

   It was Bertl's first holy communion picture - an important happening in her family. The photo had been used as a postcard which she had hand addressed to her father on the reverse.

   She tells him about this special day in her life that he was not able to attend. And there is a plea which touches me deeply. "Will you please be here for my confirmation in July? I would be so pleased." She was unable to comprehend that he daddy would be unable to attend the next important day in her life either.

   The contrast between life then and now is shown in the confirmation gift from her father. Where children today receive expensive mementos, her gift in 1918 was a photo postcard showing her father in uniform and his written explanation: "Sorry, I will not be able to be there for this special day in your life either."

Then and in succeeding years at the convent school in Simbach, Berta wrote frequently to her family. Favorite course was art, in which she received great encouragement. Her letters were frequently embellished with special drawings. A memorable one from the Christmas season depicts a Santa figure carrying a bag of toys and a tree. Adolf Hummel lovingly cataloged this collection of early letters, and many are now on display in the family's Berta Hummel Museum in Massing.

   These early memories must have greatly influenced such an impressionable child and stayed with Sister Hummel throughout life. For instance, I cannot help but be drawn to one of her originals which is cataloged as H 193 Little Brother's Lesson, which in turn was interpreted into the figurine Smart Little Sister.

   I believe with all my heart that Sister Hummel, remembering the terrible wartime in her early life, was moved when she once again saw young children writing letters to their fathers at remote military fronts. I think she is drawing her own memories in this original. I think she is showing her brother how to write their father.

   In her teens, Berta was setting out on all manner of artistic endeavors. her classmates had discovered her talent, and more than one would seek to be a subject in her drawings. She was introduced to watercolors, and developed a love for landscape painting.

   Germany is a country of folk tales and fairy tales. With her imagination, Berta found it simple to bring these characters to life on paper or on stage at school. At the same time, she was developing an individual style that was reflected even in her scenes and costume design.

   Berta was known for her ready sense of humor, and it is evident throughout her drawings that she had much fun with her own last name, Hummel. Imagine what you might do if your last name was Bumblebee and you were a young artist filled with both talent and a sense of humor.

   At age 16, she did a series of drawings with this Hummel theme. A brother is shown as a bumblebee running on his way to school, suggesting that he might have been late on occasion. Katharina, a sister, is a bumblebee dressed in a pink pleated skirt admiring herself in front of a mirror. Sister Viktoria is a bumblebee in a green pleated skirt positioned on a round stool playing the piano.

   What of herself? There is bumblebee seated, as if on a throne, atop a paint palette on wheels, behind which is a wagon filled with paint pots. The entire train is being pulled by a team of countless ants, while the bumblebee uses a paint brush like a whip to speed the team along, the paints spilling from the pots along the way. She called this memorable self-study The Bumblebee's Happy Drive Into the New Year.

   Seeing it made it easier for me to understand yet another portrait - this one done much later in 1940 of a new addition to the Hummel Family. Its catalog number is H 106 and, again, the English title of My Baby Bumblebee does not do it justice. her title, written in her own hand, was simply s'Hummele, which in the native Bavarian dialect I share with her literally means This Is the Little Bumblebee.

Perhaps when this latter work was done - when she was already at Convent Siessen, the war was on and she had to face so much that was ugly - she would sometimes wish and dream to be a little Hummele again, safe and protected by her parents just one more time!

   She so enjoyed poking fun at her name and she so often used the images of bumblebees in her drawings that the bumblebee can logically be thought of as her pictorial signature. With he been, she might be trying to say I was there, too or I'll protect you, little one, or perhaps in some cases the bumblebee was just so much fun for her to draw she could not resist.

   (Oh my, I got myself sidetracked again. I warned you.)

   Other than good educations, the schools where Catholic sisters reign are well known for one other ingredient: discipline! At these schools one will not only receive religious training, but, let's face it, the sisters can be very tough. One will learn restraint.

   From what I have heard, this was also the case with Berta at the convent school in Simbach. The strict environment helped her develop into a well adjusted and much-liked young lady, as well as a promising artist.

   The Middle Years

   It was a proud day for father Adolf when, in the spring of 1927, he accompanied his daughter to Munich to enroll her in the Academy of Fine Arts, where on April 25 she successfully completed her entrance exams and was accepted into this special school. To be in surroundings that were at least partially familiar, she took up residence off campus in a dormitory run by a religious order.

   At the academy, Berta was now receiving extensive training in all the arts. She learned to paint with oils and to sketch live models, even nudes. She learned to design and weave fabrics, and she continued to grow in mind and soul.

   Her teachers were very pleased with her as a talented and likable student, and they expressed the hope that she stay at the academy as a teaching assistant after completion of her final exams.

   She must, therefore, have been aware that not only the town, but the whole world, was opening up to her and recognizing her abilities. Somehow - and I doubt that anyone today really knows the exact reason - Berta made a decision that surprised everyone, including her own family.

   While she was a student at the academy, Berta formed a friendship with two Franciscan nuns who ere also students there. Did they convince this formidable young lady to become one of them? Was it her rural, loving and very religious upbringing that led her to her decision?

   Whatever the reason, before graduation from the academy, Berta Hummel visited the Convent Siessen in the state of Wuerttemberg to ask for admission. That was on August 14, 1930.

   On March 15, 1931, an excited Berta sent a telegram to her parents, informing them that she had passed her exams at the top of her class!

   On April 22, 1931, Berta entered the Convent Siessen as a candidate. She was immediately put to work teaching art in the nearby town of Saulgau and creating liturgical church garments in the art room at the convent. In her spare time, she was drawing children and working on art commissions.

   Her works were published as early as 1932. The first Hummel postcard were printed by publishing houses in Rottenburg and Munich.

   On August 30, 1934, Sister Maria Innocentia Hummel was ordained as a sister of the third order of Saint Francis in the Convent Siessen.

    The first Hummel book (named Hummel-buch) was printed on November 4, 1934, by the printing house of Emil Fink in Stuttgart, Germany. Printing for the first edition was 5,000 copies.

   Her Life As A Nun

   In retrospect, the years of 1933 and 1934 were important ones for Sister Hummel. Her art was on exhibit in Saulgau and soon thereafter captured the attention of both Franz Goebel, head of the Goebel porcelain factory, and principals from the printing firm ARS Sacra. Both were looking for fresh new ideas and were captivated by what they say - drawings of children with bright faces, serene and religious scenes, imaginative style. They found just what they had been looking for.

   Goebel and ARS Sacra successfully sought permission to reproduce Sister Hummel's art, initiating business relationships that continue to exist today. A number of Goebel figurines based on her work were made and introduced as early as 1935.

   These must have been happy times for Sister Hummel, but dark clouds were gathering over Germany. Hitler had taken full control of the country and was determined to destroy everything and everyone who did not conform to his wishes.

   There was this sister in this convent who just would not see things his way. She had the audacity to draw these peasant children with shoes too large, dressed to small, hair uncombed and all the while happy about it! Not at all the way he wanted the world to conceive of his super race!

   In a March 20, 1937, edition of the Nazi publication The SA Man, Sister Hummel and her art is viciously and publicly attacked. Soon thereafter, the sisters at Siessen, to their total dismay, learn that the Nazi government is determined to close the convent.

   In 1940, only about 40 sisters are allowed to stay at the convent. After much begging to remain, Sister Hummel is one of them. Convent Siessen itself is turned into a repatriation center for German nationals from other countries.

   The sisters are no longer in charge. They are made to stay in the less desired parts of the convent, since the rest is overflowing with the humanity that the sisters have to take care of.

   Sister Hummel, accustomed to a spacious studio of her own, is forced to move into new quarters serving as both bedroom and studio. The previous studio was made into an activity room for all of the remaining 40 sisters.

   One can imagine how the sisters in these evening gatherings would lament what had befallen their beloved home, the convent. One day, on esister was especially upset over the conditions and expressed herself to Sister Hummel.

   Sister Hummel suddenly left the room, only to return shortly to surprise the sister with a drawing of a little yellow duck. the duck is paddling its feet as if for dear life, its little neck and head high in the air. Under it Sister Hummel has written: Hold your head high....and swallow! She posted the drawing on the outside of the door where the sisters were staying.

   This waas but one of many anecdotes about Sister Hummel which have been preserved. She was known as always positive, always supportive toward others. I have been told that even in the times when she was so physically frail, her heart and mine were strong and always full of cheer.

   Many of her originals tell stories. Through them, she teaches even today what she believed to be right and wrong. These works of art also tell of sadness, hope, and joy. Whatever the subject, one can feel the love of the creator, because somehow she had the ability to weave her heart and soul into her art.

   Her Life Ends Prematurely

   It's sad that these terrible times took their toll on Sister Hummel. She contracted a lung infection which was probably the result of too little food and otherwise poor living conditions.

   Her illness would be diagnosed as chronic tuberculosis. It created a debilitating and extended period of poor health. She tried hard to continue her work during her illness, but often to no avail. The war finally ended, but help came too late for this special human being.

   Sister Maria Innocentia Humme, OSF, died on November 6, 1946. She was put to rest in the graveyard of the Convent Siessen by the sisters of the order on November 9, 1946. She was only 37 years old.

   One of the sisters who was there tells this story of the day this special lady was laid to rest:

   "During her illness, Sister Maria Innocentia Hummel had wished that it should snow on the day she was buried. On November 9, 1946, while her body was carried to its final resting place, snow began to fall in big, happy flakes from a single cloud in an otherwise blue sky until the earth was covered with a whiet veil, representing the veil of Innocence"

Reproductions of Hummel Art

Real, Fake or Reproduction?

Strangely enough, there are only a few hundred pieces of Hummel art that are not reproductions. Some reports place the number of original sketches by Sister Hummel between five and six hundred. All others are copies or reproductions of these original creations of hers. The reproductions take many forms, such as the best known, genuine "M.I. Hummel" figurines made by the W. Goebel Co., the prints, posters, and cards made by Verlag Ars Sacra, Joseph Muller, and Emil Fink publishing companies, the dolls also made by Goebel in the likeness of some piece of original Hummel art, the transfers used on plates, candles, and eggs by Schmid, and the copies made by various firms in Japan, Korea, Taiwan, and elsewhere.

Many collectors have come to regard a reproduction as something bad, cheap, illegal, dishonest, or inferior. The American Heritage Dictionary defines "reproduce" as follows: "To produce a counterpart, a image, or copy of." There seems to be no implication of undesirability.

Certainly the first reproductions of great consequence were very desirable. The invention of movable type made possibly the first replicas in the form of the limited number of Guttenberg Bibles made in the mid-fifteenth century. The making of reproductions in the form of etchings and engravings by great artists, such as Rembrandt and Durer, was another great stride in the wider distribution of original art in either limited or unlimited editions so that masses rather than the classes could own and enjoy it.

Figurine reproductions of Hummel art accomplish the same end. By adapting Sister Hummel's works of art to a three-dimensional form by a carefully controlled molding process, creators of these "reproductions" have given millions of collectors a chance to carefully preserve all the warmth, sentiment, and the action of her original creations. In fact these reproductions are done so well many people regard them as they would an original piece of art. To support this position, even the United States Customs classifies them as "original works of art" as shown earlier in this book. Since "M.I. Hummel" figurines have taken on the status of pieces of original art themselves, they, in turn, are now being copied. Unfortunately, most of these copies are not made to the same high standards as the "M.I. Hummels" and are unlikely to ever be classed as "works of art."

The story of the figurines made by Herbert Dubler, Inc., during World War II in New York is a good example of such reproductions. They were made, according to published information, under a license from the Siessen Convent and for which royalties were set aside. Almost everyone who has seen them agrees that they do not compare favorably in execution, workmanship, or materials to those made by Goebel. This face, perhaps, could somewhat be accounted for by wartime shortages.

They are not good reproductions of original Hummel art, but neither are they fake. A "fake" implies fraud. These reproductions by Herbert Dubler, Inc., and those from Japan, Taiwan, or elsewhere are not so much "fakes" as they are inferior representations of Sister Hummel's work. Like eggs, there are good reproductions, mediocre reproductions, and "bad" reproductions. Sister Hummel's originals have been rendered in all of these degrees of quality.

Since the words "Hummel reproduction" have come to mean something made to look like the "M.I. Hummel" figurines, this seemingly widely accepted meaning has been used in this book. Many examples of such reproductions have been made in the past and are currently being made.

Figurines are not the only Hummel art that has attracted similar but not identical copies. Similar enough to attract the eye of the buyer but not dissimilar enough to deter any legal action are greeting cards, calendars, and other paper likenesses drawn in the Hummel "style and manner." For example, Henry Mainzer, Inc. produces a line of Christmas and greeting cards that on first glance appear to be photomechanical copies of original Hummel drawings. However, they contain the name of no artist and no copyright date.

As with other reproductions, some are good values while others may vary widely in quality. For example, a Mainzer 1977 calendar was seen and purchased because of its similarity to Goebel's annual Hummel calendar. Close inspection showed items to have visuals defects that would not be tolerated by any first-rate publisher. However, this example may have been an extreme exception. The prudent approach is to bypass such bargains unless you have real expertise in appraising reproductions.

However, avid knowledgeable collectors seek out reproductions for two reasons. First, because they supplement a collection of authentic articles and may even enhance it since imitation is the sincerest form of flattery. Second, these reproductions add meaningful contrast and, in some cases, may even make a separate, interesting collection. Dubler figurines are acquiring status as collectibles, although they will never be works of art in years to come.

Many collectors wonder if they same thing will happen in various forms of Hummel art. There appears to be a better-than-even chance that it could in isolated cases, but probably not "across the board." Even if most "M.I. Hummel" collectors wanted only one Herbert Dubler figurine to supplement their collections for contrast, there are so few "dublers" available that they could become worth more than comparable "M.I. Hummels" in the secondary market. The demand versus the supply will provide the answer in the future.

What is a Hummel Trademark and what does TMK mean?

Find the Age of your Hummel using this Guide

To find out how old your Hummel figurine is, look on the underside and find the Goebel trademark stamp, usually imprinted in blue. This is the official trademark stamp of Goebel. It will be found on all authentic Hummel figurines.

hummel

The look of the trademark has varied since 1935. Most of the known marks used over the years are shown here. Nevertheless, from time to time, an undocumented variation may surface.

Compare the trademark on the base of your Hummel to the date stamp chart below.

chartchart
  • 1935-1949 aka TMK 1
  • 1950-1956 aka TMK 2
  • 1957-1963 aka TMK 3
  • 1964-1971 aka TMK 4
  • 1972-1978 aka TMK 5
  • 1979-1990 aka TMK 6
  • 1991-1999 aka TMK 7
  • 2000-Present aka TMK 8
Collectors use the TMK designations to indicate which trademark is stamped on the base of the figurine they have. This information, if you can supply it to us, is helpful in appraising and making an offer for your item.

History and Explanation of Marks and Symbols

The "wide-crown-WG" trademark was used on the first M.I. Hummel figurines produced in 1935. On the earliest figurines it was incised on the bottom of the base with the "M.I. Hummel" signature on the top or side of the base. Between 1935 and 1955, the company occasionally used a © mark on the side or top of the base of some models. It is seen occasionally to the right of the "M.I. Hummel" signature. The "crown" appears either incised or stamped. When both are used on the same piece it is known as a "double crown" mark.

From 1946 through 1948 it was necessary to add the stamped words "Made in the U.S. Zone Germany." This mark was used within various types of frames or without a frame, underglazed or stamped over the glaze in black ink.

In 1950, four years after Sister M.I. Hummel's death, Goebel wished in some way to pay tribute to her fine artistry. They radically changed the trademark, instituting the use of a bee flying high with a "V". (Hummel means bumble bee in German and the V stands for Verkaufsgesellschaft or distribution company). This mark, known as the full bee trademark, was used until 1955 and appeared --- sometimes both incised and under-glazed---in black or blue and occasionally in green or magenta. In addition, the stamp "Germany" and later "West Germany" appeared. A (R) appearing beside the trademark stands for "Registered".

Sometimes the molds were produced with a lightly incised circle on the bottom of the base in which the trademark was centered. It has no significance other than as a target for the location of the decal. Some current production figurines still have this incised circle even though it is no longer used for that purpose.

Always searching for a mark that would blend aesthetics with professionalism, the company continued to modify the trademark. In 1956, the company---still using the bee inside the V---made the bee smaller, with its wings parallel with the top of the V. In 1957, the bee remained, although once again rising slightly above the V. In 1958, the bee was smaller still and it flew deep within the V, reflecting the changing trends in modern design. The year 1959 saw the beginning of stylization and the wings of the bee became sharply angular.

In 1960, the completely stylized bee with V mark came into use, appearing with "W. Germany". It was used in one form or another until 1979. In addition to its appearance with "W. Germany" to the right (1960-1963), it appeared above the "West Germany" (1960-1972) and to the left of the "three line mark" (mid-1960s to 1972). The three line mark was used intermittently and sometimes concurrently with the small stylized 1960-1972 mark. It was the most prominent trademark in use prior to the "Goebel bee" trademark.

It became apparent that the public was equating the "V and Bee" mark only with M.I. Hummel items, not realizing that the mark included the full scope of Goebel products. It was decided to experiment further with marks. In 1972, satisfied that it now had a mark designating a quality Goebel product, the company began using a printed "Goebel" with the stylized bee poised between the letters "b" and "e".

Since 1976, the Goebel trademark on Hummel figurines has been imprinted on top of the glaze (called a "decal." It is possible for two figurines on the primary market to have differing decals.

In 1979, the stylized bee was dropped and only the name Goebel appears. The year of production will be on the base next to the initials of the chief decorator.

In 1991, the W. (West) was dropped, with only the word "Germany" remaining, since Germany is once again a united country. The original "crown" has been added to the (TM7) trademark.

In the year 2000, the beginning of a new Millennium, the trademark was once again changed. The "bumblebee" symbol, to honor the memory of Sister Maria Innocentia Hummel, was reinstated to the (TM8) current trademark.

The information in this article is a concise documentation of all W. Goebel trademarks used on "M.I. Hummel" figurines. Yet, it is always possible that a few undocumented variations may exist.

Hummel Figurine Price Guides Are Only Guides

When Dale Carnegie wrote How to Win Friends and Influence People, he could not have had authors of price guides in mind. Having produced over ten price guides in the last fifteen years, this author is unaware of having won many friends. However, it appears from the many letters received that price guides do influence collectors, dealers, and appraisers. The people who use price guides most effectively view them as just one of four or five factors to be considered in any specific case. Unfortunately some readers select a price assuming it to be a quick and final answer. They use a book as a bible rather than a guide.

The prices listed on this site include new, old, rare, unusual, and scarce Hummels of all types. one nationally known collector commented, "Sure, you can issue price lists for new Hummel figurines easily, just take production costs and add a profit. But you can't publish a price guide of 'Old Hummels'; that's impossible." A sage once said, "The impossible only takes a little more time and a little more effort."

Publishing a price guide is not quick or easy. Data collected from hundreds of people, stacks of letters, many publications, and thousands of miles of travel must be compiled, sorted, and placed in meaningful order so that statistical methods can be applied. With many additional steps, including checking each figure with many experts, a price for each item is arrived at. What does that price mean? It is simply a price that applies for only one set of conditions. It is only a guide. It is not absolute. It is not exact.

It is a selected figure representing what might be a fair price in a number of instances. It is a starting point. From this price a number to fit a particular situation can be determined with much greater accuracy. By modifying the listed figure for time, place, and circumstances, a price mutually satisfactory to the buyer and seller is more likely. The deal is made fairly and quickly.

A sale might involve a collector who discovers from the price guide that he has an item with unusual size, color, and markings. According to the price guide only a few are known to exist and have sold from $900 to $1,400 when offered. While he's still undecided about what to do, a dealer calls to ask if he is interested in selling, having heard about the piece from a mutual acquaintance. The conversation might go something like this: Dealer: "By any chance do you have an oversize Merry Wanderer with red shoes?"

Collector: "No, this one has green shoes, but otherwise it is just like the book says."

Dealer: "I have a good customer that's been waiting for years to find one like you describe. How much do you want for it."

Collector: (After a moment's hesitation) "Fourteen hundred dollars."

Dealer: "All right, on one condition. I will send you a cashier's check for $1400 providing you give me five days to make sure the figurine is as you describe it."

Collector: "That's fine with me. I'll hold it if I get your check before next Tuesday."

What happened? Why was the dealer willing to pay more than some collectors had paid in the past. At least one good reason might have been that his customer had told him he would pay up to $1600 anytime for such an example. With little risk involved the dealer can make a fast, small profit. He's happy, his customer is happy, and the seller is ecstatic. In the seller's opinon the author of the price guide is a great fellow with conservative prices.

A final example of a possible sale might be as follows. The very same collector with the "$1400" figurine with green shoes might spend hours calling dealers and writing out-of-town ones listed inthe Buyer's Guide. Finally, getting impatient and disgusted, he might give the piece to a commission auctioneer to sell who agrees to retain 25% of the proceeds as his comission. The auction is on a bad day. Only the mailman and a few hardy individuals are out. Nobody at the auction cares especially about the Hummel figurine or its value. It goes for $50 on two bids. Now the collector is certain the author of the price guide knows nothing about pricing Hummel figurines. In both cases, although fictional and extreme, the price in the book was only a guide. The figure had to be modified by the conditions at the time of the sale.

Other Adaptations of Hummel Art

M.I. Hummel porcelain figurines are only one adaptation of Sister Hummel's art. Other collectible adaptations are Hummel dolls, plates, prints, pictures, postcards, calendars, books, bells, boxes, and candles.

M.I. Hummel dolls are made exclusively by the W. Goebel Company and were added to the line in 1955. W. Goebel had been making other dolls since 1871. These dolls are made with vinyl plastic. Doll collectors report that these dolls can be bought in the United States, but can be purchased for considerably less in Germany, where is seems the majority of Hummel dolls are sold.

M.I. Hummel plates entered the Goebel line in 1971 with their first limited edition annual (Christmas) plate. That same year, Schmid Brothers, Inc., of Randolph, Massachusetts, introduced a Berta Hummel Christmas plate. Since that year both companies have continued to produce commemorating plates plus at least one limited edition each year. Schmid also introduced a limited edition Mother's Day plate in 1972 and has issued one each year since.

Paper prints, pictures, and postcards adapted from Sister Hummel's original paintings actually predate the production of figurines. Josef Muller and Emil Fink, both publishers, entered into separate agreements with Sister Hummel and her convent for the rights to reproduce her works in the early thirties. Paper calendars based on Hummel are are made by W. Goebel, Emil Fink, and Josef Muller.

Three books reproducing drawings and paintings of Sister Hummel are The Hummel Book, by Hummel and Seemann, copyrighted by Emil Fink Company in 1934, The Hummel published and copyrighted by Josef Muller in 1939, and a rare, out-of-print biography by and American Franciscan nun entitled Sketch Me, publisher and date unknown.

Hummel bells, boxes, and candles for the most part are distributed by the Schmid Company using transfers or decoupages of reproductions of Sister Hummel's art. These adaptations can be identified in the same way as the reproduced Hummel Prints, by the signature of Sister Hummel found in many forms. If the picture has been cropped, the collector must learn to recognize genuine Hummel adaptations, look for the Schmid name, or trust his dealer.

There are many Hummel-like products on the market of every type and form imaginable. The principal, authorized adaptations of Sister Hummel's can be identified by checking for the facsimile signature, the company, or by learning to recognize the distinctive style of Sister Hummel's art.

What are "M.I. Hummel" Figurines?

M.I. Hummel figurines are small ornamental figures made of porcelain, the highest grade of ceramic. These three-dimensional figurines are adaptations from original drawings and paintings of Sister Maria Innocentia Hummel. These adaptations are all approved before production by the Franciscan Convent at Siessen, Germany, where Sister Maria Innocentia Hummel lived until her death in 1946. All master models created from Sister Hummel's originals are and always have been subject to convent approval since they were first issued in 1935. A special licensing and royalty agreement between the convent and the Goebel company specifies this approval.

Authentic M.I. Hummel figurines are only made by the W. Goebel Company and can be distinguished from any other figurines in a very simple way. A genuine M.I. Hummel figurine must have a facsimile signature incised somwhere on the figure or edge of the base. Unless this incised facsimile signature is on the figurine, it is probably not a genuine M.I. Hummel Figurine. Although the W. Goebel Company did vary many of their other marks, collectors can be grateful that in the application of the facsimile signature they were both consistent and persistent. Some of the very small designs only two or three inches high are difficult to mark so that the resulting signature is indistinct on some but it should be there and it worth the hunt.

M.I. Hummel figurines are not only signed but are probably one of the best marked ceramic objects that have been made since porcelain was rediscovered. This excellent marking makes collecting them a joy because of the story that unfolds when one learns to read the marks on the bottom of every piece. Because of the nearly infinite combinations and variations of markings, in almost every instance two important questions, "Who made it?" and "When was it made?" can be answered with some assurance. Since 1870, the W. Goebel company has used more than twelve different trademarks although some of them are a minor variation of one theme.

The marks of interest to M.I. Hummel figurine buyers are those from 1935 to date. In this article, all trademark information have been condensed to conform to the manner in which most collectors are already using it today.

These trademarks have been applied as conscientiously as the facsimile signature "M.I. Hummel." In the early days the trademarks were also applied by incising. Later trademarks are stamped in blue ink after the first firing and before the final firing so that they are under the glaze and practically tamper-proof. A study of the pictures of the actual figurine back stamps shows that for many years only an insignia rather than the name of the manufacturer was used. The use of an insignia rather than a name is a common practice among porcelain manufacturers. In 1950 this insignia became the "Full Bee." Since the words "Das Hummele" mean "busy bee", an association between this logo of the W. Goebel Company and Hummel figurines evolved to the point of confusion for many buyers. All Hummel trademarks are the logo of the W. Goebel Company itself and are used by them on all their products from figurines to dinnerware.

Signatures on Original Hummel Art

Berta Hummel (later Sister Maria Innocentia Hummel) signed her original drawings in a number of different forms in the lower left or right corners. These signatures can be seen clearly in most two-dimensional reproductions. Generally, the most common form of her signature is a cursive "M.I. Hummel". An example of which is Angelic Sleep.

No examples of this style of signature have been seen on her children or non-religious subjects. The Goose Girl was the only titled drawing and box-style signature encountered.

Companies who reproduce two-dimensional versions of Sister Hummel's art usually add a monogram or symbol of copyright registration. This symbol often appears near the signature but is not part of the original drawing. Ars Sacra Verlag, Josef Muller, one of the licensees, uses the letters A & R worked into a monogram. The Emil Fink Verlag reproductions do not appear to have anything similar in the picture area or face of the reproduction.

Many prints, cards, or picture reproductions are cropped by the publishers in order to obtain a different composition or treatment. This cropping frequently eliminates any evidence of the Hummel signature.

Collectors familiar with Sister Hummel's style probably are not confused by the absence of a signature on some reproductions. However, the novice might find it disturbing not to be able to distinguish between a cropped piece reproduced from and original Sister Hummel painting and Hummel-like paper products such as those published by Alfred Mainzer of Long Island City, which are not copied from original Hummel art. Until the beginning collector is able to distinguish original reproductions, he might wish to collect only those items in one form or another with a Hummel signature on them.

Are Hummel Figurines Worth Anything?

Is Hummel art great art? If wide acceptance is a measure of great art then surely the work of this active young "hummele," later a religious nun, must be a candidate for this classification. If great art is popular, it must follow that her work would be classed as great art. Millions of people not only recognize "Hummel Art" when they see it, but they have been and are still willing to pay anywhere from a few cents for a postcard to thousands of dollars for the recently available large figurines. Sister Hummel's art, like that of the great masters may survive the test of time, or it may not. In any case, today, less than fifty years after most of it was created, it is cherished and enjoyed the world around not only as great art but as very collectible art.

Like so many important artists in history, Sister Hummel was deeply religious. As did these others, she directed part of her creative effort to translating her impressions and feelings into paintings of various religious subjects and events, such as her Madonna in Red. Religious Hummel art is being actively collected, despite the present decline in general spirit involvement, because of her ability to arouse deep emotional response to her pious paintings.

For the same reason her other art is collectible by an even broader cross section of the population. It attracts, it is cheerful, it is motion-filled, and it tells a story. It recalls for many collectors the past when they had similar experiences. For example in Stormy Weather a young girl and boy huddle under an umbrella as protection from the elements. In this work Sister Hummel captured that moment of both awe and fear of thunderstorms so well that collectors relive similar feelings they once had or may have imagined. In the same way there were other times when as children they felt grown up and took pleasure and pride in acting the part portrayed in Doll Mother, the Pharmacist, or twenty others that stir memories and feelings.

There are many shallower reasons why Hummel art is collectible. For some it may be used only as a touch of decoration or a conversation piece. It is collectible for the very important reason that is it affordable and a good value in the eyes of a buyer. These are collectors who have not understood the message being sent.

Another attraction is the large number of models that are available which appear in a great variety of forms such as figurines, fonts, pictures, paintings, or plaques. Not all of the hundreds of Sister Hummel's work are available in each form. The grand total of combinations of subject, size, and form is in the tens of thousands - a vast reservoir from which collectors of many tastes, attitudes, and means can drink and find deep satisfaction. There are many more than just one series of look a-likes that tug simultaneously at both the heartstrings and the purse strings.

Hummel art is also collectible because it fits today's lifestyle as well as it did that of thirty years ago. It is not a fad or style collectible as some of the Victorian art of Art Nouveau once was. Hummel art is addictive in their interest because of the variety of subjects. Two are more than twice as interesting as one, and so on. An old-time collector once commented, "One is an example, two is a pair, and three is a collection." Each addition to the group brings another and different expression of Hummel originality and is usually surrounded by some event associated with its acquisition. Perhaps the piece was a gift on a special occasion or a memento from a vacation trip.

In recent years Hummel art has been collected for another entirely different reason. It is being used as an investment that will keep up with, or maybe beat, the rate of inflation. This motive is not confined to the collecting of Hummel art, alone, but has permeated all fields of collecting for the many years. While all Hummel art is not limited edition, it is being purchased as a secondary reason for its potential gain in value.

What Is Hummel Art?

For the purposes of this site, Hummel art is any fine, decorative, or useful art form adapted from an original creative work by Berta Hummel (later Sister Maria Innocentia Hummel). The counterparts of these originals have appeared in numerous forms for over forty years. The three dimensional figurines are the most famous conceptions of her pastels and paintings.

Her original works are all over the world. Some of them are in the house where she was born in 1909, and in which her mother and brother still live. Primarily, these are the ones she drew before entering the convent in 1933. More of her original drawings and paintings are in the Franciscan Convent at the Seissen in West Germany. Dr. Herbert Dubler of Verlag Ars Sacra, Josef Muller of Munich wrote that they owned most of the originals for which they hold the two-dimensional rights. Some originals also exist which Sister Hummel gave as gifts during her relatively short life. Recently an original Sister Hummel made in 1939 at the request of some young girls surfaced in St. Louis.

The three-dimensional conversion of her originals into figurines was so well executed under her supervision while she was alive that they are now classed as works of art themselves by the U.S. Department of Commerce.

Most of the remaining Hummel art is two-dimensional expressions of her originals produced by photomechanical processes to preserve line and color. In this category are prints, pictures, calendars, and cards.Transfers have also been made to apply to articles such as music boxes, plates, bells, eggs, candles, and innumerable other collectibles.

Bas-relief is another form into which Sister Hummel's pictures have been adapted, principally for a series of annual plates. Production of these plates has usually been limited to the year of issue. Prints, pictures, greeting cards are a few of the two dimensional replicas that are very popular even in modern times.

Hummel-like art is the term used in this article for items often referred to as reproductions. This broader term is used because variations are so wide that there is a question of whether or not they were inspired by Sister Hummel's work. Some appear to have been more likely issued with the objective of capitalizing on the worldwide appeal of her work and the approved adaptations. These "unauthorized" reproductions are usually dissimilar enough to avoid infringing on existing copyrights. Some Hummel-like examples are in two-dimensional cards and prints, but most of them are figurines of varying quality and appearance. Currently only figurines licensed by the Franciscan Convent in Seissen to be produced by the W. Goebel Company of West Germany are genuine "M.I. Hummel" figurines. Each one must be so marked in an incised facsimile of Sister Humme;s script signature. Any piece without this signature is either Hummel-like, Hummel Inspired, a reproduction, or other imitation.

Learn About Collecting Hummel Figurines

Hummel figurines are fun to collect, and can even be valuable. This article lists some of the most valuable Hummel figurines, and explains why they are valuable. "For Father", "Globe Trotter", "Little Goat Herder", and "Going to Grandmas" are great examples of valuable Hummels. As with all collectibles, the condition and the rarity of a Hummel will affect its value. However, the value of a Hummel is affected by many things. For example, part of what makes Hummels so valuable is the keen eye for detail, colors, and expressions.

Hummels have been on the marketplace for a long time. In the 1930s, Franz Goebel, the founder of Hummel Figurines, thought that in a world of political turmoil, customers would respond to a product that depicted the gentle innocence of childhood. The artwork of a Franciscan Sister named Maria Innocentia Hummel was introduced to Mr. Goebel. The nun made drawings of country children that were printed as art cards. These art cards would soon be famous around the world.

Goebel wanted to produce a line of figurines based on Maria Hummel’s artwork. She was contacted at the Convent of Siessen and was shown clay models based on her drawings. Sister Hummel thought the idea of turning her artwork into ceramic models was a wonderful idea, and she granted sole rights to Goebel to create ceramic figurines based on her original artwork. Sister Hummel was a perfectionist, so she insisted that she personally approve the sculpting and painting of each porcelain piece. It was determined that earthenware, pioneered by Goebel in the 1920s, was the proper material for the new line.

In order to determine whether or not a figurine, plate, or bell is a genuine Hummel piece, one should search for definitive marks identifying the Hummel as legitimate. The mark of Sister Hummel is carved into every piece. Sister Hummel’s stamp of approval appears on every piece and under the direction of the members of the convent, approvals were made with care. All Hummels have a mold number; a number that is incised on the bottom of each Hummel figurine at the factory. Goebel’s stamp on the underside of the figurine is yet another indicator. Hummel’s trademark has changed over the years, yet every authentic M. I. Hummel figurine will have a Goebel stamp on its underside. Any variation in this stamping causes a source of great excitement for Hummel collectors.

Hummel Figurines have been collected for over 80 years, and continue to have a strong market even today.

The World's Most Expensive Teddy Bear

The German teddy bear company, Steiff is responsible for the production of many expensive collectible bears and also the most expensive teddy bear ever made. The Steiff company claims to have made the world’s first teddy bear and has produced a golden bear to commemorate its 125th anniversary.

The expensive bear has a mouth made of solid gold and fur made from gold thread. Topping off the teddy bear are jeweled eyes featuring sapphire pupils with diamond irises.

If you or your daughter simply “must have” the world’s most expensive teddy bear, you might have to search hard for the purchase. Only 125 of the collectible edition bears were produced, making them not just hard to afford, but also hard to find. These bears came with a price tag of 62,446 Euros (about $84,000 USD). But you don’t have to empty your bank account just yet, Steiff toys makes a wide variety of teddy bears that are more affordable than this rare anniversary edition and will still make you feel like a teddy bear connoisseur.

Collecting Hummel Figurines

Hummel figurines are fun to collect, and can even be valuable. This article lists some of the most valuable Hummel figurines, and explains why they are valuable. "For Father", "Globe Trotter", "Little Goat Herder", and "Going to Grandmas" are great examples of valuable Hummels. As with all collectibles, the condition and the rarity of a Hummel will affect its value. However, the value of a Hummel is affected by many things. For example, part of what makes Hummels so valuable is the keen eye for detail, colors, and expressions.

Hummels have been on the marketplace for a long time. In the 1930s, Franz Goebel, the founder of Hummel Figurines, thought that in a world of political turmoil, customers would respond to a product that depicted the gentle innocence of childhood. The artwork of a Franciscan Sister named Maria Innocentia Hummel was introduced to Mr. Goebel. The nun made drawings of country children that were printed as art cards. These art cards would soon be famous around the world.

Goebel wanted to produce a line of figurines based on Maria Hummel’s artwork. She was contacted at the Convent of Siessen and was shown clay models based on her drawings. Sister Hummel thought the idea of turning her artwork into ceramic models was a wonderful idea, and she granted sole rights to Goebel to create ceramic figurines based on her original artwork. Sister Hummel was a perfectionist, so she insisted that she personally approve the sculpting and painting of each porcelain piece. It was determined that earthenware, pioneered by Goebel in the 1920s, was the proper material for the new line.

In order to determine whether or not a figurine, plate, or bell is a genuine Hummel piece, one should search for definitive marks identifying the Hummel as legitimate. The mark of Sister Hummel is carved into every piece. Sister Hummel’s stamp of approval appears on every piece and under the direction of the members of the convent, approvals were made with care. All Hummels have a mold number; a number that is incised on the bottom of each Hummel figurine at the factory. Goebel’s stamp on the underside of the figurine is yet another indicator. Hummel’s trademark has changed over the years, yet every authentic M. I. Hummel figurine will have a Goebel stamp on its underside. Any variation in this stamping causes a source of great excitement for Hummel collectors.

Hummel Figurines have been collected for over 80 years, and continue to have a strong market even today.

How can I identify my Cattaraugus Cutlery Company Knife?

The Cattaraugus Cutlery Company stamped nearly all of their knives with pattern numbers in a unique numbering system. They may have also denoted different blades and colors of handles with letter abbreviations, but this is rare.

The first figure of the pattern number indicates the number of blades (1 means one blade, etc.).

The second figure indicates the number and type of bolsters:
0 = no bolsters
1 = front bolster only
2 = front and rear bolsters
3 -- tip style bolsters
5 = diagonal (slant) bolsters


The last figure of the pattern number denotes the type of handle material used:
1 = white fiberoid
2 = french pearl
3 = genuine mother of pearl
4 = celluloid
5 = genuine stag
6 = ebony
7 = concobola
8 = white bone
9 = stag bone


The remaining numbers (3rd and 4th in most cases) are the pattern number.

Beware: after Cattaraugus went out of business, someone bought the remaining parts and assembled them, resulting in low quality, crude examples. Also, the stamping on these later knives is very poor. Do not confuse these later knives with original manufacture.

W. R. Case & Sons Pattern Numbering System

W. R. Case & Sons did not stamp the pattern number on their knives consistently until 1949. However, the pattern number has always been used at the factory level for purposes of records, cataloging, etc. I feel that, after you become familiar with the system, you will agree that is it very comprehensive.

Case uses abbreviated letters following the pattern number to identify various types of blades. Briefly, let us look at a pattern number and its abbreviated letters. For example, let us take pattern number: 6347 SH SP SSP. To the new collector, this number might seem complicated, but, a little time spent studying this article should make it very easy to understand.

NOTE: When a zero (0) appears before the first number or in the middle of the pattern number, it signifies that the pattern is a modification of another pattern.

The FIRST NUMBER designates the type of handle material used. It is coded as follows:
  • (1) – Walnut
  • (2) – Black Composite
  • (3) – Cream
  • (4) – White composition
  • (5) – Genuine Stag
  • (6) – Bone Stag, Delrin, or Laminated Wood
  • (7) – Black Celluloid
  • (8) – Genuine Mother of Pearl
  • (9) – Imitation Pearl
NOTE: some handle materials are identified by a letter instead of a number. These letters and the material they represent are as follows:
  • P – Pakkawood handle
  • S – Silver & Gold handle
  • M – Metal & Stainless Steel handle
  • T – Toledo Scale handle
The SECOND NUMBER represents the number of blades.

The THIRD and FOURTH NUMBERS are the factory pattern. When a (1/2) follows the pattern it indicates that the master blade is of the “clip” style.

Next we come to the abbreviated letters following the pattern number. These letters identify the type of blades used. These letters are coded as follows:
  • SAB – Master Blade is Saber Ground
  • SP – Spay Blade
  • P – Punch Blade
  • RAZ – Razor or “One Arm Man” Blade
  • F – File Blade
  • PEN – Pen Blade
  • In addition to the abbreviated letters listed above you will note the following letters stamped on the blade following the abbreviated letters. This letter will help you in identifying individual patterns. They are as follows
    • L – Blade locked when open
    • EO – Easy Open
    • SCIS or SC – Scissors
    • SHAD or S – Shallow (No Bolsters
    • SS – Stainless Steel Blades & Springs
    • SSP – Stainless Steel Blades & Springs (Polished)
    • DR – Bolsters Drilled for Lanyard
    • R – Bail in Handle
    • T – Tip Bolsters

Should I sell on eBay?

When one of our friends asked us about selling things on eBay my wife quipped "If you’d rather see it go away than thrown away you won't be disappointed" and I’ve been repeating that to people ever since. While it’s true that you can make money selling things on eBay it’s equally true that you can’t really predict what will sell or how much you might make on any given item. As has always been true with sales, there are intangible, unpredictable variables which can affect the outcome but here are a few things we’ve learned that we feel are important.

First, some quick questions and answers:>
Question: Does it cost money to list things on ebay? Answer: Yes.
Question: Do I have to give personal information and credit card information to ebay in order top open an account? Answer: Yes.
Question: Do I have to pay ebay even if my item does not sell? Answer: Yes.


Now on to some general info about selling on ebay.com

Your Item Title is very important
Your item title (which you come up with yourself) may well be the single most important part of any eBay listing. This is what the search engine pays the most attention to and this is what is most visible to a potential buyer who’s scanning through a row of search results. To create a good title, write down all the words that apply to the item, prioritize the words using your "best guess" as to their search-engine importance and construct your title using the most important words first. To do this properly you have to know something about the item you’re listing so "get with google" and study up on anything you wish to sell but don‘t know anything about. I’ll give you an example based on a topic I’ve recently researched:

A few years ago the Marshall Electronics Corporation created a small revolution in the home and small business recording industry by introducing the MXL 2001 large diaphragm condenser microphone which sold for under $100. The nearest thing to it at the time was about triple the price and of no better quality. Marshall has since added a number of other microphones to the MXL product line but the 2001 remains a popular seller whether new or used.

The Behringer Corporation, based in Germany, has in recent years become well known for manufacturing professional quality mixers, amplifiers and other sound system components which sell for extremely competitive prices.

So, if I wanted to sell an MXL 2001 and a small Behringer mixer as a package deal I would not write my title as


Behringer UB802 Eurorack Mixer With Marshall Microphone

In light of the background I’ve provided, can you see what’s wrong with this listing?

Don‘t get me wrong, there’s nothing wrong with Behringer, I love their equipment in fact but if you intend to sell a revolutionary microphone and an economical mixer on eBay, list the microphone first and be specific in your listing.


Here’s how I would list this item:

MXL 2001 Microphone and Behringer UB802 Eurorack Mixer

Because of the continued popularity of this particular microphone, listing it accurately and mentioning it first would probably result in the auction having more watchers so there'll be more participants in the "bidding frenzy," which normally starts a few minutes before the auction closes. With more watchers it's highly probable that the winning bid will be higher than it would have been with the first listing. My wife, who’s my co-writer, editor and proofreader asked why I explained this in such a convoluted manner; she had trouble understanding my point so I’ll try to say this again in a simpler way. Before you write the title for an item, ask yourself a simple question; "If I were looking for one of these on eBay, what would I type into the search window?" The words which answer this question are the words which should begin your title.

The Photo: This is probably the second most important part of an eBay listing and it's a close second at that. If you're not selling a brand-new item which is still in the unopened original box don't try to find a photograph on the web with an image search and do not list an item on eBay for sale or auction without a photograph, no matter what it is. Take a picture of the actual item you wish to sell and make sure it's a good photo. If you don't own a good digital camera, with macro capabilities for close up shots of small items, it's an investment you should consider.

The Description: It goes without saying that the description of your auction item must be totally honest. Make it as detailed as possible and if there’s anything you aren't sure of, be sure and put that in your description too. What you absolutely mustn't do is put negative information in your description. Here are some example sentences:

"I don't want bids from people like Kevin, everyone knows he’s a jerk."

"I'll give you positive feedback as soon as you give me positive feedback."

"I don't know if it works so I’m selling it AS IS. If you buy it and it doesn't work, don't even think of returning it."

"I’m an honest businessman so don't jerk me around, move on if you aren't serious."

Each of these examples represents a great way to shoot yourself in the foot. Yep, that's right, sellers who put sentences like these in their descriptions are chasing away potential customers by undermining their own credibility. I’ll break them down in order for you.

If you want to bad-mouth the buyer who got to you, do it somewhere else,putting personal invective in your description says to me "I'm eally stupid and I like to whine so don' buy anything from me, ok?" Maybe that seems cold to you but that's how I see it and you won‘t have to deal with me because I won‘t be bidding on any of your auctions. Moreover, a lot of other potential buyers will have the very same reaction.

The only important thing you, as a seller, can say about a customer is whether or not he paid you. Nobody cares if the buyer is a hippy-type-pinko-(um, well you know), or if he was rude to you, as long as he paid you. If he paid you give him positive feedback right away. If he paid you as soon as the auction closed then give him really good feedback with lots of exclamation points and plus signs; if he paid you four days after the auction closed give him positive feedback and a thank you. If you don't do that and are then tempted to send him a follow up letter reminding him to give you positive feedback, resist the temptation. In business there is no greater sin than insulting a customer's intelligence.

If it doesn't work, say it doesn't work; if it works, say it works; if you don't know and you’re willing to trust your customer to test it then promise a refund if it doesn't work. If you can’t bring yourself to promise a refund, don't sell it on eBay.

Every dishonest person I've ever known was ready to tell you often, and in a loud voice, that he was an honest person. If you mentioned specific instances where his conduct might have been less than honest he had a fully prepared dialog explaining how it wasn't his fault. Maybe I'm paranoid but if you feel compelled to tell me how honest you are, I feel compelled to wonder if you're telling the truth and hey, my money's as good as anybody's so don't question my intent. The simple fact is that eBay will only work if we're willing to conditionally extend some trust to one another. Don't tell a potential buyer up-front that you don't trust him and then expect him to trust you.

Reserve Pricing: All I can say about a reserve price is don't set a reserve price. Reserve prices are hidden and therefore "sneaky," meaning they have negative connotations which means buyers don't like them. If you won't take less than a hundred dollars for it, then set the minimum bid at a hundred dollars. That puts the cards on the table for everyone to see. If your expectations are unrealistic it won't sell and you'll pay a larger fee, because the listing fee is a percentage of the minimum bid and you pay the fee whether or not it sells, but that's the price of knowledge. Pay it and move on.

Shipping Charges: If you don't have a postal scale, buy one, you're going to need it. Which one you need depends on what you're trying to sell because they come in ranges. Zero to thirty-five pounds is, for example, a popular size which seemed suitable for us so that's what we bought (for about $30) and it's served us well. If you want to know more about scales, read this.

A lot of buyers go to great lengths to avoid paying extra listing fees and one common trick is to jack up the shipping charge, using it as a means of setting a minimum return on an item. The problem with this practice is simply that buyers aren't stupid; they know about what shipping costs so they can see when a seller sets it ridiculously high and they reward him by moving on without electing to watch, much less bid on, the item. I don't have any idea what works for other sellers but I select a box or bubble envelope to ship the item in, place the item in the box/envelope, throw in what I estimate is enough packing material, weigh it, add an ounce, go to the postage calculator at the USPS.com website, plug in my zip code and the zip code for Nome, Alaska (99762, which I figure is a fairly good "worst case" destination), add a dollar and that's the shipping charge I use with my auction. Why the dollar? Well, I list all my auctions with an opening bid of 99 cents and every now and then I write an ineffective title which only attracts one watcher who wisely waits until the last minute to win the item with a 99 cent bid. In that instance, unless I made a mistake in calculating the shipping charges I'll make about two dollars on the auction which somehow feels better than 99 cents. There's just something sad and futile about making less than a dollar.

Gallery Photos: When you specify a gallery photo, which costs a little more, eBay puts a thumbnail (i.e. reduced size) photo of your auction item in the search results listings. One of my friends insists that you'll make far more than enough to pay the extra fee by always opting for the gallery photo and I've decided that he's probably right. I feel like it's silly to opt for the gallery image when you're selling small, inexpensive items with well written descriptions. In my case, that would be guitar picks which I feel like I did very well on without gallery images but I can’t prove it because I didn’t try listing any of them with gallery images and I’ve already sold all I had. I've got no basis for comparison but I’m inclined to give him the benefit of the doubt.

Make the customer happy: If you sell something that you thought was working but the customer insists it isn’t working, don't quibble with him. Promise him a refund if he returns it and follow through. Don‘t just refund what he paid you, add in enough to cover the cost of return shipping. Whatever it takes, leave him happy. If you take a loss, so be it; that’s the cost of doing business. Money can’t buy a 100% positive feedback rating, you have to earn it by doing the right thing, every time, no matter that it sometimes costs you a few dollars.

Tips and Tricks:



Don‘t buy packing materials if you can help it. Empty styrofoam egg cartons, when closed, make strong, lightweight packaging material. Plastic shopping bags, which seem to be everywhere these days, can be wadded up and used for packing material.

Scrounge packing boxes where you can find them. If they happen to have a lot of printing on the outside of the box you can cut them apart with a good sharp kitchen knife (bought on-the-cheap from a flea market or garage sale) and reglue (or tape) them inside out. Supermarkets, as a general rule, have cardboard baling machines and they recycle cardboard. Convenience store workers have to break them down and wag them to the dumpster so find out what day the stock truck comes in at your local convenience store and drop by while they’re "busting freight"; they’ll be totally delighted to let you carry off a pile of boxes.

Bubble envelopes are, for some reason, expensive in most retail stores. If you know you’ll be selling a lot of small items, you can save some serious bucks by googling for bubble envelopes in bulk. Because they weigh very little, the shipping charges are normally modest so the unit cost on a case of 500 bubble envelopes can be as much as 75% less than you’d pay in local stores. If you live in a fairly sizable town where there’s more stores, and more competition, this might not be true but either way, it’s worth doing some research and if you decide you have way more than you need, what the heck, you can always sell them on eBay.

Jon Warren

Franklin Mint Western Series Plates by Renowned Western Artists --- Trash or Treasure?

This series of four plates was produced from four original sculptures created especially for this series by renowned Western artists. These were the first Franklin Mint plates to be issued in both 22K gold and Sterling silver, and the first series of sculptured plates. Each plate is serially numbered on a medallion affixed to the reverse of the plate.

Each plate was produced in a 22K gold version which weighed roughly 22 troy ounces or 684 grams.

1 Horizons West by Richard Baldwin, 1972, 8 inch diameter, bas-relief
2 Mountain Man by Gordon Phillips, 1972, 8 inch diameter, bas-relief
3 Propsector by Gus Schaefer, 1973, 8 inch diameter, bas-relief
4 Plains Hunter by John Weaver, 1973, 8 inch diameter, bas-relief

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

Are Franklin Mint platinum medals and coins worth anything?

The Franklin Mint issued many coins for sovereign nations, and of those, a significant number were made of platinum rather than gold or silver. The Franklin Mint also produced several so-called 'mini' coins made from platinum. And, in a few instances, Franklin Mint made several commemorative medals sets made of platinum. iGuide's research has determined that the purity level of these platinum medals is about 90% pure. These platinum coins are valued like other platinum bullion coins, they are worth a percentage of the metals or scrap value. They do not have 'rarity' or 'collector' or 'numismatic' value.

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

How much do American silver coins weigh in grams?

This list gives approximate weights in grams of American silver coins prior to 1964. It is important to note that pre-1964 American silver coins contain 90% silver, not 100%. There are 31.1 grams in a troy ounce. Silver is bought and sold in troy ounces on the commodities markets.



Coin Type Grams
Silver Dollars (pre-1965)   26.7 grams
Half Dollars (pre-1965)      12 grams
Quarters (pre-1965)            5.8 grams
Dimes (pre-1965)               2.5 grams

American Gold Eagles

One Ounce of Gold
Many countries now issue a one ounce bullion coin, to be sold at a very low premium over the intrinsic gold value. The American version is the Eagle.

Krugerrands versus Eagles
Because krugerrands were the first one ounce gold bullion coins to be issued, it is worth comparing gold eagles with krugers.
Krugerrands were first issued in 1967, as one ounce bullion coins. From 1980, they were also produced in fractional sizes of half ounce, quarter ounce, and tenth ounce. Eagles were introduced in 1986, in all four weights except the quarter ounce which was not introduced until 1987

The Eagle Family
Gold Eagles are available in four different sizes and weights, from one ounce to one tenth of an ounce, as detailed below.

Technical Specifications
The following table summarises the specifications of all the sizes.
SizeFace ValueDiameterWeightFineGold Content Gold Content
 US $mm.Grams/1.000GramsTroy Ounces
One Ounce5032.734.0500.91731.1041.0000
Half2527.017.0250.91715.5520.5000
Quarter1022.08.5130.9177.7760.2500
Tenth516.53.4120.9173.1100.1000


Table Notes
The 1/12th of the alloy, or 8.33%, which is not gold, is 5.33% copper and 3% silver. Diameter = Diameter in millimeters.
US $ = US Dollars
mm. = millimeters.
Fine = Millesimal fineness.
Qtr = Quarter.

South African Gold Krugerrands

One Ounce of Gold
The South African Chamber of Mines had an inspired idea to help market South African gold. It was to issue a one ounce bullion coin, to be sold at a very low premium over the intrinsic gold value.

Back in 1967
Krugerrands were first minted and issued in 1967, and have been produced every year since. They have legal tender status in South Africa, which allowed them to be imported into many, but not all, countries without import taxes, duty or VAT.

The Krugerrand Family
Originally only one size was issued, which contained one full troy ounce (31.1035 grams) of fine gold. This was originally known as a Krugerrand, or Kruger, for short. From 1980, three other sizes were introduced, namely a half, quarter, and tenth ounce size. Because of these, the original Krugerrand is sometimes referred to as a "full" or "one ounce" Kruger or Krugerrand, although within the trade, the word Kruger or Krugerrand is understood to be the full sized original one ounce version.

British Investors Missed Out
At the time of the kruger's introduction, it was not legally possible for British residents to acquire bullion gold coins, so that the Krugerrand was almost unknown in Britain until 1971.

Low Premium Over Gold Content
According to the publicity at the time, the Kruger was to be made available to world bullion dealers at a 3% premium over the current gold fix, so that after distribution costs, the coins would be available to investors in quantity at about 4% to 5% over intrinsic gold values, and possibly 10% premium for single pieces.

Higher Premium on Smaller Sizes
The fractional sizes were issued at higher premiums to bullion dealers of 5%, 7%, and 9% respectively. The fractional coins have never been as popular as the full one ounce coins, usually only being purchased as singles, so that in practice, it would usually cost 10% to 15% premium for the half and quarter ounce, and from 20% to 50% premium for the tenth ounce, most of which seem to have been used in jewelry. Most bullion houses do not want the bother of handling small quantities of low value coins

Technical Specifications
The following tables summarize the specifications of all the sizes.
SizeFace ValueWeightFinenessGold Content Gold Content
 RandsGrams/1.000GramsTroy Ounces
Full1033.9305.91731.1041.0000
Half516.9653.91715.5520.5000
Quarter2.58.4826.9177.7760.2500
Tenth13.3931.9173.1100.1000
SizeRemedy (Grams)Min Diameter (mm)Max Diameter (mm)Min Thick (mm)Max Thick (mm)Edge
1 oz+ 0.0732.6132.772.742.84180
1/2 oz+ 0.03526.9327.072.1152.215150
1/4 oz+ 0.0221.9422.061.7881.888140
1/10 oz+ 0.0116.4516.551.251.35115
Table Notes
We understand "remedy" to mean the excess weight which the coins are designed to have to allow for any manufacturing tolerances.
The 1/12th of the alloy which is not gold, is copper.
Min. = minimum.
Max. = maximum.
Diameter. = diameter.
Thick. = thickness.
Edge = number of edge serrations

How much can I get for my modern gold coins?

Many nations mint bullion coins, of which the most famous is probably the gold South African Krugerrand. Although nominally issued as legal tender, these coins' face value as currency is far below that of their value as bullion. For instance, Canada mints a gold bullion coin (the Gold Maple Leaf) at a face value of $50 containing one troy ounce (31.1035 g) of pure 24K gold. Bullion coins' minting by national governments gives them some numismatic value in addition to their bullion value, as well as certifying their purity.

The level of purity varies from issue to issue. 99.9% purity is common. The purest mass-produced bullion coins are in the Canadian Gold Maple Leaf series, which go up to 99.999% purity. Note that a 100% pure bullion is not possible, as absolute purity in extracted and refined metals can only be asymptotically approached. Usually a bullion coin contains a stated quantity (such as one troy ounce) of the slightly-impure alloy; the Krugerrand is unusual in containing one troy ounce of actual gold, with the impurity making the coin heavier than one ounce.

When you go to sell your modern gold coins to a dealer, you will receive a percentage of their full value. You will NOT receive 100% of the value, because dealers must make a profit in order to stay in business. The percentage of full value (called the spot value or spot price) will vary widely from dealer to dealer. Dealeres will offer anywhere from 80% to 90% of the "spot" price for your coins. Obviously, the higher percentage you can get, the better for you.

Another factor you must consider before you start doing the math is the "purity" of the coin you are selling. Not all modern gold coins are pure gold. Most are 24K gold, but some are only 22K. For purposes of simple calculation, we will consider pure 24K gold coins. If a dealer is offering to pay you 90% of spot, here is how to calculate the actual price he is offering:
1. Get the current spot price (from a site like www.metals-quote.com).
2. Multiply that price by the percentage the dealer is offering you.

Let's say the current spot price is $900.00 per ounce and you have a one ounce 24K gold coin for sale. The dealer has offered you 90% of spot for it. Simply multiply $900 X .90 (or $810) to get the price he is actually offering.

Are Franklin Mint Calendar Art Medals worth anything?

The bronze versions: trash. The sterling silver versions: treasure. Calendar medals were issued in 1967, 1968, and 1972-1980. Each medal is 77 millimeters in diameter and has an antiqued finish. The Calendar medals for 1967, 1968 and 1972 were struck with the Benjamin Franklin portrait designed by Gilroy Roberts. Beginning in 1973, these medals featured an original work of art whose design includes a calendar for the year. Starting in 1972, the medals were produced in both sterling silver and bronze. The bronze versions have little if any value.

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

Who started The Franklin Mint?

Over the past 50 years, Joseph M. ("Joe") Segel has founded more than 20 different companies in businesses as diverse as publishing, minting, photography, aviation, software, hospitality, television broadcasting and behavioral modification. As a result of this prolific entrepreneurship, Segel has received numerous awards for creating new businesses and jobs, and has been referred to by several journalists as "the quintessential entrepreneur." Most recently, he was honored with the Lifetime Achievement Award of the Electronic Retailing Association and was awarded an honorary Doctor of Humane Letters degree by Drexel University. He is the only person who has been elected to both The Direct Marketing Hall of Fame and The Specialty Advertising Hall of Fame. He has also served as chairman of the Philadelphia Presidents Organization.

Segel entered the undergraduate program of the University of Pennsylvania’s Wharton School at the age of 16. He received a Bachelor of Science degree in Economics in 1951 and went on to become the youngest member of the faculty of the Wharton School at the age of 20, teaching Marketing 101 and 102 while running his first significant business, The Advertising Specialty Institute. That business, which evolved into National Business Services, Inc., was acquired by the Cohn Family Trust in 1961 and it recently celebrated its 50th anniversary.

In 1962, Segel started Jordan-Edwards Company to market a pocket appointment and expense account record-keeping system he had designed. That led to his being called upon to testify as an expert on expense account record keeping before a Congressional committee, the first of several appearances before Congress. That company was acquired by Day-Timers, which replaced it with its own system.

In 1964, at the age of 33, Segel took note of two concurrent events – the passing of General Douglas MacArthur and people lining up at banks to buy the last U.S. silver dollars. That sparked an idea. He quickly started The National Commemorative Society, which introduced a monthly series of limited edition, sterling silver commemorative coin-like medals honoring events and heroes in American history, starting with a medal commemorating General Douglas MacArthur. The program was an instant hit. Not satisfied with the quality of the coin-medals produced by a subcontractor, he recruited Gilroy Roberts, who was then Chief Engraver of the U.S. Mint, to join him in starting General Numismatics Corporation ("GNC") to mint superior-quality coins and medals. In 1965, shortly after going public, GNC changed its name to The Franklin Mint.

The Franklin Mint soon became listed on the New York Stock Exchange and rapidly developed into the world’s pre-eminent producer of high-quality collectible items, as well as the only private mint commissioned by foreign countries to produce coin of the realm. Segel retired as chairman of Franklin Mint Corporation in 1973. The company was subsequently acquired by Warner Communications (predecessor to TimeWarner), which later sold the company to a private group of investors. The Franklin Mint today produces a wide variety of collectible products. Coins and medals are no longer a significant part of its output.

In 1970, Segel and his wife acquired a small hotel on Mont Pelerin in Switzerland and renamed it Le Mirador. Over the next 27 years, while still living in the USA, Segel expanded the hotel and spa into one of Europe’s finest 5-star resorts, eventually becoming one of the 300 "Leading Hotels of the World." In 1990 he sold Le Mirador to a Japanese group. He bought it back in 1993 and extensively renovated the property. Then in 1998, he sold Le Mirador a second time – to a German software magnate, Hartmut Lademacher, and it is now part of the Kempinski hotel group.

In 1975, Segel started Presidential Airways, a private jet service with 5 jets and 3 helicopters, specializing in shuttling executives to the supersonic Concorde. He learned how to fly and achieved an unusual score of 100 on the instrument-rating test, but he chose not to pursue a pilot’s license after a hair-raising experience during flight training. Presidential Airways was financially unsuccessful and, after several aircraft changes, was sold in 1980 to its largest customer.

In 1980, Segel and his wife went on an African Safari. As an avid photographer, he shot over 3000 slides on that trip. He then selected the 50 most interesting pictures and individually printed a limited edition of each of them in his own darkroom. After agreeing to allow The Franklin Mint to market his "Portraits of a Safari" series, he learned that color photographs fade significantly over a five to ten year period, even when displayed under glass. Dismayed that collectors would not be aware of the fact that his photographs would gradually fade, he destroyed all the prints he had made and vowed to find a solution to the problem. That led him to start PermaColor Corporation to develop new systems for inhibiting the fading of color photographs. Eventually, through personal experimentation, he worked out a system to preserve color photographs for 50-100 years. He then went back to his darkroom and individually reprinted a limited edition of 60 of each of the 10 best photographs, protecting them with the new preservation system, and The Franklin Mint went ahead to successfully market the series. Nearly thirty years later, the photographs show no sign of fading. Segel now shoots only with Canon digital cameras and does all his photographic processing by computer.

Segel had always been fascinated with computers, going back to the earliest days of the industry. When the IBM Personal Computer was introduced in 1983, he bought the first PC delivered in the Philadelphia area. After discovering that the initial software left a lot to be desired, he founded Software Digest and National Software Testing Laboratories (NSTL), which has become the world’s leading independent PC software testing organization. NSTL was subsequently acquired by McGraw-Hill and is now privately owned.

In 1986, Segel noted the success of the pioneering home shopping program, Home Shopping Network. After watching the primitive nature of its programming at that time, he immediately recognized that televised home shopping could be made significantly more appealing in a number of ways. So he then started QVC Network (standing for Quality-Value-Convenience). Within three months after starting the company, Segel raised over $20 million in an IPO. With a novel plan to sign up cable companies by awarding them convertible preferred stock in proportion to the number of homes to which they would carry the QVC program, Segel initially lined up over 7 million TV homes for the network’s launch. The first broadcast, five months after the company was started, was carried by 58 cable systems in 20 states.

Segel introduced numerous innovations to televised home shopping, such as accurately describing products rather than hyping them, full disclosure of shipping and handling charges, and imbuing all employees with the mission to "give customers more than they expect." In its first year, QVC registered sales of $112 million — a record for first-year sales of a new public company that had not taken over an existing business. In 1989, Segel decided that the next important step in expanding QVC"s sales would be to acquire Cable Value Network (CVN). Supported by TCI, the nation’s largest cable operator at the time, CVN had become the second largest televised shopping network, not quite as large as HSN but twice the size of QVC. CVN was bought by QVC for $380 million, primarily with financing provided by banks and cable operators.

The purchase of CVN was described as a python swallowing an elephant, resulting in an initial quarterly loss of $17 million. However, the calculated gamble to establish QVC’s market leadership eventually paid off. In 1986 there were 17 other new shopping channels trying to improve on the HSN model. Only one – QVC-- would survive into the 90’s. Segel retired as chairman of QVC in 1993, but he continues to be associated with QVC as Chairman Emeritus and consultant to QVC management. In 1995, Comcast Corporation and TCI acquired QVC. TCI’s interest was subsequently acquired by Liberty Media, and Liberty Media eventually bought out Comcast’s 57% interest for nearly $8 billion.

QVC is now one of the largest television networks, broadcasting live to more than 80 million homes in the USA, England and Germany. Now with over 10,000 employees and more than 10 million customers, QVC’s annual sales around $7 billion. It has become more than twice as large as HSN, still its principal competitor.

Segel started several other smaller companies in recent years, such as International Skincare Research, Inc., SmokeStoppers, Inc. and HealthLift.com. All of those businesses have been sold. He now spends most of his time experimenting with new PC software and digital imaging. He is determined to stay in retirement, which he enjoys immensely, and has vowed not to get involved in the active management of any new businesses.

An avid wine connoisseur, Segel maintains a unique, private database of ratings of American and Australian chardonnays, syrah and zinfandel and has become somewhat of an expert on Australian wines.

Segel’s public service activities have been concentrated in the field of international diplomacy. In 1971, he was elected chairman of the Board of Governors of the United Nations Association of the USA. And, in 1973, President Ford appointed him as a member of the U.S. Delegation to that year’s United Nations General Assembly, where he served under U.S. Secretary of State Henry Kissinger. During that term, Segel made a landmark speech at the United Nations General Assembly condemning apartheid in South Africa, which presaged a shift in U.S. policy toward a more active role in ending apartheid. He also organized a national campaign of The Advertising Council to improve public understanding of the United Nations, chaired a national conference on the United Nations for the American Society of Newspapers Editors and testified in support of the United Nations before the U.S. Senate Foreign Relations Committee. During Segel’s involvement with the United Nations in the 60’s and 70’s, he met with numerous ambassadors, several foreign leaders and three U.S. presidents.

Segel was born in 1931. He has been married since 1963 to Doris Segel. The Segels have residences in Bryn Mawr, Pennsylvania and Boca Raton, Florida. They have three grown children and six grandchildren.

BUSINESSES STARTED BY JOSEPH M. SEGEL


1. 1947 Eastern Advertising Co., Inc. -- advertisingspecialties.
2. 1949 Desk-Sign Manufacturing Co., Inc. -- personalized desk signs.
3. 1950 Magicard Co., Inc. -- promotional mailing pieces.
4. 1950 The Advertising Specialty Institute, Inc. -- central information service.
5. 1953 Colorcrafters, Inc. -- pioneer in full-color printing.
6. 1954 Selective Gift Institute, Inc. -- business gift selection service.
7. 1960 National Business Services, Inc. -- consolidation of last 3 businesses.
8. 1961 Gem Publishing Co., Inc. – books featuring humorous sayings.
9. 1962 Jordan-Edwards Co., Inc. -- pocket appointment and record books.
10. 1964 National Commemorative Society, Inc. -- producer of commemorative medals.
11. 1964 The Franklin Mint (initially called General Numismatics Corporation).
12. 1965 Britannia Commemorative Society, Inc. -- producer of commemorativemedals.
13. 1970 Le Mirador, S.A. -- Swiss resort hotel, spa andconference center.
14. 1975 Presidential Airways, Inc. -- private jet and helicopter charterservice.
15. 1980 RateSearch Corporation -- computerized air freight rate analysis service.
16. 1981 PermaColor Corporation -- systems to preserve color photos.
17. 1983 Software Digest, Inc. -- PC software rating reports.
18. 1983 National Software Testing Laboratories, Inc. -- PC software testing.
19. 1986 QVC Network, Inc. – televised home shopping.
20. 1997 International Skincare Research, Inc. – Le Mirador skincare products for QVC.
21. 1997 SmokeStoppers, Inc. – smoking cessation programs
22. 1997 HealthLift.com – interactive health enhancement system.

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

A Brief History of the Franklin Mint

The Franklin Mint is a private corporation based in Exton, Pennsylvania which markets collectibles of its own designs. It was founded by Joseph Segel. The company started by marketing privately-minted gold and silver commemorative rounds and medallions, but quickly branched out into other collectibles. In the 1960s the price of silver rose, causing all silver coins to be removed from circulation. The Nevada casinos used silver dollars in their slot machines, which were soon worth more than a dollar. The Franklin Mint was one of the earliest and largest minters of replacement slot machine tokens.

It minted in its own production facility numerous sets of coins-of-the-realm, theme-based medals and ingots, selling them on the subscription plan, with buyers getting a monthly shipment and invoice. Franklin Mint struck issues in all the different precious and semi-precious metals. American history and art masterpiece themes were predominant, with space and important persons and other topics also quite popular. Sets were often limited by the number of subscribers by a cut-off date, or a fixed mintage, resulting in "limited editions."

Prices were fairly reasonable, compared to the cost of silver, and often tens of thousands of sets were sold. Custom wood cases, fancy packaging and certificates appealed to collectors, and the market boomed. However, silver prices climbed, making the cost of larger items high, and replacement bronze and pewter issues did not appeal to collectors as much.

From 1973 to 2000, the Franklin Mint had a division called the Franklin Library, which produced hundreds of editions of classic works of literature in fine bindings.

In 1983, and to much success, The Franklin Mint entered the die-cast car market with the 1935 Mercedes Benz 500K Roadster. In the following years, Franklin Mint produced numerous designs including the Rolls-Royce Silver Ghost, one of Franklin Mint's better-selling models.

Collector knives, figurines, plates, Monopoly sets, chess sets and board games, plaques, coins, medals, and other collectibles have been issued over the years by The Franklin Mint. The Franklin Mint was heavily reliant upon direct mail and media print ads for sales. Advertisements for Franklin Mint collectibles—including the Civil War Commemorative Chess Set among thousands of other items—were once ubiquitous in popular magazines.

Currently The Franklin Mint has divested itself of minting capacity, and has downsized, and is now mostly a producer/marketer of die-cast models.

On October 17, 2006, The Franklin Mint announced it was sold by Roll International Corp to a number of private investors including M. Moshe Malamud and Steven Sisskind, chairman and chief executive respectively from The Morgan Mint, and David Salzman, a Hollywood producer. The sale closed on August 31, 2006 and no price was announced. The new ownership plans to return Franklin Mint to its former market-leading status and offer the full lineup of collectibles including coins and medallics. Many of the Franklin Mint's most recent Resnick era products are pop-culture icon themed, for example porcelain plates featuring images of John Wayne among many others.

Get current prices and learn how to sell at our Franklin Mint Price Guide (click here)

Star Wars Movie Posters: A Guide To Authentication

Star Wars material is among the most difficult to authenticate in the movie poster hobby. Everyone seems to have an opinion. I'll maintain this page as a guide (by no means comprehensive) to Star Wars poster authentication.

1977 Stars Wars One Sheet Style A

I've had quite a few of the style A one-sheets over the years — ones that have come directly from theaters, so I know they were authentic.

You may not be aware of it, but there are authorized reprints of this poster.

Much weight has been given to the dimensions of the posters, the distances of the blue border from the inner image, and the exact width of each of the four borders. I no longer can agree that any of this is set in stone. I've seen two copies of the poster, in my hands; from two different theaters, and in both cases the posters were not disturbed from their release in 1977. I personally removed them from the theaters, so there was no opportunity for anyone to slip me a fake. In both cases, the owners had no interest in their posters, which had been sitting for years, and I have no doubt whatsoever that both copies were authentic. Yet the left and right borders varied by 1/16 of an inch on both, and the top and bottom border measurements did not match either. I've stopped paying attention to the 1/16 of an inch differences. I am told that the measurement differences of 1/8 or higher are significant.

At the moment, I have a Star Wars A that I just picked up in a theater in Kentucky, in the midst of thousands of posters and again, I know for a fact that it's an original (the gentleman had not disturbed it for years). It can be argued that the white border of the LEFT of this poster is exactly one inch on the top, and may be closer to 1 1/16 inch on bottom and exactly the reverse is true of the RIGHT border. I know this was not the case with the other two originals I had. Keep in mind there was a first printing, and then many other original year printings done in different NSS locations in the country. Not every Star Wars poster definitively came off the same machine, the same day. If there were other printings that year, in other locations, it is very likely that the borders would be off from one another, in this small way. So, bottom line: I've learned from many discussions with others who own the style A, and my own ownership at various times of guaranteed authentic copies that one cannot necessarily rely on the borders within 1/16 of an inch. Most of the fakes I've seen that DON'T have the 77/21-O or 21-1 indication on the bottom have borders off by more than 1/16.

There are lots of forgeries of the style A's and C's. If you see rolled ones for less than $175 you are most likely wasting your money on a fake. Most experts say if it's rolled don't buy it. Collectors report forgeries of Star Wars style A and C with 77/21 and 77/21-0 as well as 77/21-1. Some people say that only the ones with a NSS of 77/21-0 are fake. Not True! I'll tell you this, I have bought several SW style A’s, and I have yet to get a real rolled one. I have bought folded examples, which are good. I personally won't buy them anymore unless I can get them from a theater.

1977 Star Wars Original Mylar One Sheet First Advance First version.

This poster was the first THEATER poster produced for Star Wars. The image does not do it justice. The letters and border are Mylar, in other words they appear as a mirror image (hence very difficult to photograph). These posters were shipped flat to theaters in wooden boxes. The flat shipping was done because if these posters are rolled tighter than about 4" diameter they will tend to separate or "delaminate". In other words, the Mylar will separate from the paper backing. Sadly this has been the fate of most of these posters. The Star Wars logo is not the standardized logo that was later adopted.

Star Wars First Advance Second version

The First advance second version is on card stock.

Star Wars Advance Style B

Watch out for is the SW Teaser "B". If it is priced "cheap" it is probably fake. I have bought 5 rolled ones in the last couple of months and they were all forgeries. What I do know is that the most common forgery of the "B" teaser is that it is missing the union label (it is a small oval). It should be in the bottom border. All of the ones I have seen are fake. I have not seen a real one. I've also been told that some of the letters are not as sharp as they should be.

The B Teaser fakes look pretty bad and are fairly easy to spot because the lettering is so soft looking and the color is off.

Star Wars Style A Poster

This was the poster that accompanied Star Wars on its first release. The art is by Tom Jung. This art was only used on the theater posters (which were also used for advertising merchandise). Many people will say "but I had that on a T-shirt." Artwork used on other products was similar but created by the Hildebrandt brothers (of comic book fame).

About the "A" style: The fake I have with the 77/21-0 is a heavier and glossier paper than the real folded one. The artwork is also almost a full 1/4" smaller. The paper is obvious when you put them side-by-side. Also, the real one is a little darker brown in the bottom left corner of the art. I have seen it written that there were print runs with both the 77/21-0 and 77/21 without the "Star Wars" written under the number but the fake I have does not have it. The union logo on the fake is much larger then the real one. It is 1/4" across on the fake and just a bit over 1/8" on the real. The rolled one I have, I now think, is real. It's almost a perfect match with the folded one. It is definitely a different print run however since it does not say "Star Wars" under the 77/21.

The hairline: a definite sign that many fakes have is a dust line just below Luke's belt where a hair got on the negative. If your poster has this hairline it is a fake.

It can get discouraging. I recently had one "expert" tell me that the only fakes of the "A" have the 77/21-0 or 77/21-1. The next day I got an email from a poster consultant who said that there are fakes of the poster with the 77/21. They also said that they have NEVER seen a real rolled "A".

Here is how I (CURRENTLY) would describe an original Star Wars Style A poster: The art from outer border to outer border is 24 15/16" - 25 inches. - One white border on the left is exactly 1 inch. The white border on right is exactly 1 inch, or only 1/16" inch larger or smaller than 1 inch. Very slight indent for the word COPYRIGHT on the very bottom of poster (about 1/8 inch). The sign for copyright (c with circle) below the image but above the credits is, if you measure to the dead CENTER of the circle, 1/2 inch from the outside blue border, 3/8 inch from the inside of blue border, and 1/4 inch from BROWN edge of art. The Graphic arts international logo and Litho in USA are closer to the bottom edge of the poster than the lower blue border. In other words, they aren't exactly in the center of the lower white border. The GAI logo lies a bit above the litho in USA words. The 77/21 is flush with the outer blue border. It can have two types of type used. I know this because of the one I got out of a Canadian theater. It can have the elongated numeric font used by NSS, which measures 1/4 inch high, or it can have the slightly shorter, thicker font. The words Star Wars appear below the 77/21. Again, I know for a fact that the originals do have Star Wars written under the 77/21 (or at least all that I've ever seen). And again, I don't know what to say about rolled ones. I have yet to see an authentic rolled Style A, though they may exist.

The style A's were printed by National Screen Service. Up until the early 80's, they handled the printing and distribution of movie posters for all the major studios. They tended to get a little funny with the codes that were printed in the corners of the posters. Every time they went back and printed the A's, they would change the code. It was probably an inventory thing.

About seven years ago, a company (whose name now escapes me) reprinted thousands of Star Wars A's, C's and B teasers. The A's are extremely difficult to spot and dealers have been selling them as original ever since they showed up. The reprinted ones have the designation "77/21-0" at the bottom. That doesn't mean that all of the posters with the other designation are fakes, there are at least four different printing codes on the original A's, but the rolled ones with the "-0" are all suspect now.

Star Wars Style C Poster

The C's are not quite as difficult to spot, but they still look pretty good and I'm sure a lot of people have been ripped off. The only good way to know if it has been reprinted is to look at the dot pattern of the color separation with a 30-power magnifying lens. If most of the dots are perfectly round, then it is an original. If most of the dots look broken or moon shaped, then it has been "re-separated" from an original printing and is a fake.

Star Wars Style D Poster

This poster was issued in 1978 after Star Wars had been in the theaters for a while. The art is by Drew Struzan and Charles White III.
The SW style "D" fan club reprints have a dot matrix serial number on them. The rolled one I have has the union label going into the credit portion of the poster somewhat.

Star Wars Birthday Poster

This poster was issued in 1978 to those theaters that had played Star Wars for 1 year continuously. Probably fewer than 500 of these posters were ever printed. It is now one of the most sought-after Star Wars posters.

Revenge Of The Jedi

Be careful with the Revenge posters. I will no longer buy this poster with the release date since most being sold today are forgeries. The forgeries are folded in many cases. The same poster without the date has no known forgeries. On the Revenge, the fakes I have seen have blurry 20th Century Fox logos. The one I have now actually has the blue color of the logo in the bottom right corner.

On the ROTJ Style A: I was told that the top horizontal light bar coming off of the saber has color in it. It does in all of mine. The copy I'm told is a white line. I am also told that on the same forgery there is a curved hairline, almost as if a piece of dust got on the negative — you can easily see about 2 centimeters to the right of the moon in the bottom left of the art. I did notice that one of my rolled ones was darker in the area to the left side of the saber. This was the one I suspected might be fake.

I get about two or three offers a month to buy REVENGE of the Jedi One-sheets. Those are the worst. I have a standard email reply to those, I just can't afford the mistake. Beware on the Revenge with the date. There are many forgeries of this poster out there. In particular look for a hairline of red above the yellow line.

QUICK RULES OF THUMB

1. Star Wars Style "A" - Copyright at left bottom is flush with artwork on the fakes. Should be indented slightly (a little less then 1/8th"). Also, look for a hairline on Luke’s belt. If you see a hairline, it is a fake.
2. Star Wars Style "A" - Artwork is slightly smaller on fake.
3. Star Wars Style "C" - Hard to tell. The faces of the characters are yellowish on the fakes rather than orange-brown.
4. Star Wars Style "D" - The fake has a dot matrix serial number on the bottom border.
5. Star Wars Advance Style "B" - Smearing around some of the edges of the letters on the fake. Also, the fake is missing the union label left of center on the bottom is missing.
6. Revenge of the Jedi Advance (The one with the opening date) Blurred 20th Century Fox Logo on fake also you can see the fold lines from the original the fake was copied from. Look for a hairline of red between the yellow stripe and black background. I have also heard that there are no known rolled copies of this poster.

What's a Movie Poster? An Introduction to Collecting Movie Posters

Filmmakers have advertised their films by every means conceivable since the first producer decided to splice his footage together, load it onto a projector, set up a screen and some chairs, and sell tickets. Film trailers, handbills, heralds, radio and TV spots, sneak previews and the revered publicity stunts of the great showmen of the past have all played a role in getting the attention of the public when a film needed selling. But for film fans all over the world, one area of film advertising remains specially connected to the heart of filmmaking: the movie poster.

Posters go right back to the beginning of movie exhibition a century ago. The evolution of advertising using posters was inevitable; in the previous century almost anything you could buy had been advertised on posters. Posters were colorful and they were ubiquitous. They were cheap to produce and they really grabbed one's attention. So it was natural that filmmakers would turn to posters as a means of arousing curiosity. The modern one sheet posters of today, offset printed on translucent "lightbox" paper, fulfill exactly the same function as did the stone lithographs which announced exhibitions of cinema by Lumiere and Edison. By the exploitation and juxtaposition of image, text, and color they attract the public's attention and invite people to reach for their wallets at the boxoffice.

But aside from this primary function, film posters have another quality. They are at once mementos, memorabilia if you will, of the experience of attending a film. In this they are artifacts of our culture. The poster that you see at the cineplex for a film like Jurassic Park or Howard's End could have the same nostalgic appeal in fifty years that a poster for The Wizard of Oz or It Happened One Night has for us today. It's hard to say for sure. The possibility that it might is part of the charm and allure of collecting.

The ability to see something special in a poster is the hallmark of a talented collector. A collector may have great posters and yet have a lackluster collection. Collections with verve are amassed by collectors with vision. This is true with all collectibles, and it is equally true with film posters. Happily, this is what makes collecting fun. Not everyone can own an original 1933 King Kong one sheet. Not everyone has the money, but even if they did they still couldn't because only a few are known to exist. But anyone interested in movie posters can have a wonderful collection. That is to say, a collection filled with wonders.

Poster Sizes

Movie posters were made in certain specific sizes, sometimes in multiple styles (different posters in the same size), to be used in different situations. The most common size, the one sheet poster, measuring 27 inches wide by 41 inches high, is today triumphant over the other sizes which are, for the most part, no longer manufactured. The one sheet poster is what one sees when attending a theater today.

But in the past, as recently as the 1970s and 1980s, posters were made in several configurations. Classically, from the smallest to the largest, posters were produced in the following sizes:

Publicity Stills

publicity still
Usually 8 inches by 10 inches, stills are glossy black and white or sometimes color photographs produced on the set of a film by the film's still photographer. They are not, strictly speaking, a poster, although at movie houses they might be displayed in groups like lobby cards. They are not, usually, strict frames from a film enlarged onto a photograph although in some rare cases they may be. They are tableau or scenes from the film set up and photographed in such a way as to look as if they are lifted from the film. In the old days the film's still photographers used 4x5 cameras that would create razor sharp stills for better newspaper reproduction. Sometimes producers would lithograph (print) color still sets in 8x10 format for use at the theater location for display. These are called still sets, and they are sometimes numbered like lobby card sets. But the garden variety black and white still is the copper penny of movie posterdom. Normally in the bottom border are printed title, production and copyright information. There were billions of these produced worldwide. Sometimes stills were produced in 11 by 14 inch formats - oversized stills. (The most regal type of still are the glamourous stills produced by smart photographers like George Hurrell which are generally elegant photographs of the stars. These are quite valuable and are not to be confused with normal production stills. They are often embossed with the photographer's imprimatur.) Generally you find them in shops where you can look through the inventories in a self-serve situation. Or you may see them at poster and movie conventions around the world.

Lobby Cards

lobby card

These are 11 inch by 14 inch posters printed on card stock. They are generally printed in sets of eight different cards, but not always. Each set will consist of one (usually) title card and several scene cards. The scene cards are so called because a black and white still, a scene from the movie, is generally hand tinted and reproduced in color on the card. The card is embellished with other art, text and design and each scene card will have a same or perhaps similar design with a different still used.

The title card is like a small poster with the title and credits of the film setting it apart from the other cards. In later years, generally the late sixties and after, true color photography was used in the creation of scene cards. Lobby card collecting is one of the most varied and interesting areas in the hobby because of the endless variety of cards and the varying quality of the images used. Generally the more pertinent, memorable and central the image on the scene card is, the more valued the card is. The term dead card refers to a card that lacks the more interesting or compelling aspects of the film - either stars or subjects missing from the scene portrayed. For example, a scene card from an obscure Bela Lugosi film in which Lugosi, the chief element of interest, is not portrayed, or a card from a Marx Brothers film without any of the brothers pictured. Individual scene cards from many films have a number printed in or near the border area. Some films have no title card in the set. Sometimes there may be only four cards in a set or sometimes more than eight cards in the set. Most lobby card sets have been broken up over years of collecting, so finding a complete set is increasingly difficult. Complete sets often came in paper bags with the name and studio information printed on the bag. The presence of the bag with the set is very unusual today. Very occasionally, two different lobby sets may exist for the same film.

Jumbo lobby cards, measuring 14" by 17", are another type of lobby card. They can be vertically or horizontally oriented. Jumbo lobby cards were produced from the silent era through the early 1940s. They are scarcer than standard lobby cards.

Window Cards

window card

The window card is a poster which is 14 inches by 22 inches. It is one of the easiest sizes to handle and economical to frame because an oversized piece of glass is not required in the framing process. It, too, is printed on a card stock. Window cards were designed chiefly for off-premises advertising. Thus, they were often seen in the window of the barber shop, the butcher shop, the dime store, ect. - advertising a film that was playing at a local theater. A blank area was left at the top of the poster; in this space the exhibitors could print the theater locale and playdates. Of course, many window cards survive with these imprintations. Some collectors prefer to find a copy of a window card with nothing printed on it, but other people, myself included, find that playdate printings can add an individual character to a poster. Some window cards have had this area trimmed from the poster. Trimming a poster devalues a poster and is always a bad idea; but finding a trimmed window card on a rare title is OK. Given the choice between a trimmed window card and a complete one, whether printed or not, the untrimmed care will have a wider collector's appeal because it is complete. The mini window card (8 inches by 14 inches) is a smaller incarnation of the window card. These were not made for every film, and while they can be quite desirable, they are relatively scarce. Likewise, the jumbo window card (22 inches wide by 28 inches high) is a larger version of the window card.

Insert

insert Sometimes called insert cards, they are printed on a heavier card stock. This poster has a vertical format, 36 inches high by 14 inches wide. This poster, because of its vertical format will fit, when framed, in an area where other posters won't fit. And inserts can be very beautiful. Inserts can utilize painting in their design, but some of the most affecting designs are photographic. Inserts which have never been folded may be referred to as flat or rolled. These rolled posters preferred to one that has been folded. But an insert that has been folded should not be turned down if the design is good and other areas of condition are satisfactory. A trip to the restorer can brighten any poster and folds can be minimized.

Half Sheet

Half sheet posters. Also printed on card stock, the half sheet is sometimes called a display. It is more often called a 22 by 28 referring to its dimensions - 22 inches high by 28 inches wide. These dimensions give the poster one of its greatest elements of appeal: a convenient size with a horizontal orientation that is easy on the eyes in a smaller room. Like the insert, both painted art and photographic designs are found. Framing is usually reasonable because again, no oversized piece of glass is required. And, once again, rolled or flat posters and folded ones are also found.

One sheet posters. The most popular poster size is arguably the one sheet. One sheets are 41 inches high by 27 inches wide. They are printed on paper stocks which can vary widely in quality from beautiful enamel stocks to the cheapest newspulp. One sheets can utilize art or photographic elements. One sheets are printed now by offset photolithography, a process by which original art which is used to make the poster is photographed and a printing plate is made from the film. But in the first half of this century, older posters may have been printed by lithographic techniques utilizing stone or zinc plates. These posters are referred to as stone lithographs and this printing technique, now largely confined to fine art editions, was once used commercially to produce all types of posters. Stone lithography stopped altogether in the early 1950s, as photo offset printing, being cheaper and faster, dominated. But stone lithographic one sheets (as well as three and six and even twenty four sheets) have become the rosetta stones of many collections. Ask a collector or dealer to show you the difference between these two kinds of printing methods and you will understand why collectors ooh and aah over stone lithos. The one sheet is, for the most part, the smallest poster which can be a stone lithograph. This, as much as anything else, has accounted for its popularity. But it also must be said this has been historically the poster which, through the decades, has been used by the exhibitors more than any other poster. It is virtually the only size used today by all exhibitors in all parts of the country. It's importance in recent times in the minds of collectors has been shaped by it's preeminence as the favored size for inclusion in auctions. Great posters are not defined by their dimensions alone but rather by their design overall. There are wonderful designs in every size.

30 x 40 and 40 x 60 inch posters. These posters are printed on card stock, generally, and are somewhat scarcer to find than the smaller posters. I have seen them folded, but usually they were stored flat or rolled. Because they are bulky, and because they were not used for every film, fewer of them are seen. Both sizes are oriented verticaly, so that the longer dimension is the height of the poster. Sometimes multiple styles may exist in these sizes. Most of these posters that I have seen have been offset photolithography, but I have also seen silkscreened examples and they can be very interesting. Like all larger posters, framing is more expensive because of the oversized glass or plexiglass that is required, more running feet of frame, etc. Homemade frames begin to look very cost effective for larger posters.

Three Sheet. The three sheet poster is printed on paper stock and is three times larger, in square inches, than a one sheet. Its dimensions are 41 inches wide by 81 inches high. So, like an insert poster, it has a long, vertical orientation. It may be printed by offset photolithography or by stone lithography. Three sheets are generally scarcer than smaller posters on the same title. Because it is large, preparation of the poster for display is more expensive than for a smaller poster. But if you have the space to display one, or even it you are simply in love with larger posters, three sheets are wonderful. They may simply show a larger image of the same art as is found on one or more of the smaller posters on a title, or they may offer an image that is different altogether from any other poster. The most successful three sheets are ones which are designed to best utilize the vertical scheme.

Six sheet. The six sheet poster is six times larger, in square inches, than a one sheet and twice as large as a three sheet. Normally a six sheet measures 81 inches wide by 81 inches high: the only movie poster that is a perfect square. I have been six sheets that were slightly larger and slightly smaller than these dimensions but these are unusual. By any definition this poster is BIG. Three and six sheets were usually used in the big, downtown movie palaces, and, to me, they are especially evocative of the golden area of movie exhibition. The six sheet is scarcer in general, than, say a three sheet on the same title. This is so because fewer sixes than threes, and threes than ones etc., were manufactured to begin with. And because larger posters were often dismissed as "too big" by collectors in the early years, they were often discarded or treated casually, further reducing their numbers. Six sheets may be offset photolithography or they may be stone lithos; they are printed on paper stocks. They are even more expensive to prepare for display than a three sheet. When they are good, however they can be very impressive indeed. Obviously, they can be very impressive in a larger room.

Twenty four sheet. The twenty four sheet was used as an outdoor billboard. They are sometimes called poster panels. Twenty four sheets can vary in size, but most of the ones I have encountered are about 20 feet wide by 9 feet high. These posters are scarce with few exceptions. They are normally the scarcest poster on any title; on many titles no twenty four sheets are known to exist. This can be true for any size poster on a particular title. No one can say why, for some titles, no known posters exist in a given size, or, indeed, at all. But it is known that twenty four sheets were intended to be used in the initial, first-run release of a film. A billboard space had to be rented from an advertising display company. Usually the budget for this existed only in the first-run of a movie. Once a film had moved to the neighborhood theatres, twenty four sheets were seldom called for. Twenty four sheets were the only posters that were routinely destroyed when they were used. Most posters were used by the exhibitors and then returned to the exchanges from which they had been leased. A twenty four sheet was purchased by the exhibitor, pasted up, displayed, and pasted over with another billboard as soon as the advertising contract expired. When a film was out of first run distribution and the personnel at the film poster exchanges felt certain billboards would not be called for again, the surplus copies were discarded. They were bulky and took up valuable space. So relatively few survived. This is what has been explained to me by people who worked in this business over the years. Who collects these behemoth posters? Completist collectors who are looking for every poster on a particular film, dealers who are interested in selling to completist collectors, and the occasional collector who sees a magnificent twenty four sheet and has to have it. There have been some memorable examples of twenty four sheets which have commanded big prices at auction and through private sales. When they are good, they are spectacular.

Pressbooks. Pressbooks are not posters. They are called pressbooks for short, but they are called Exhibitor's Campaign Manuals. They were produced by the studios and distributed to the exhibitors to help them market the film in their area. The pressbook contained articles, targeted at the local newspapers, with information and publicity about the film and its stars. These were often regurgitated by local writers or simply lifted intact and published. The pressbook contained ad mats, ideas for marketing schemes, product tie-ins, and, most importantly for contemporary poster collectors, examples of the posters and other campaign items intended for the exhibitors. Pressbooks are themselves collected today. They are most valued when they are completely intact and nothing has been cut from them. The pressbook will usually show every poster produced for a film; of course there are exceptions to this. The pressbook will show special items and special size posters at times.

Special sizes. Occasionally, special posters were produced in various sizes, such as silk or paper banners, or subway posters. Other special posters include door panels and free standing poster displays called lobby standees. No one knows all of what was made for each film because different items were made for distribution to different localities.

Roadshow Posters Roadshow (or limited engagement) films often had posters which were printed and distributed outside of the normal National Screen Service channels. 1952 to 1967 was the heyday of reserved seat engagements of such popular films as This Is Cinerama, Around The World In Eighty Days, Oklahoma!, Ben Hur, Spartacus, Cleopatra, My Fair Lady, and The Sound Of Music, to name but just a few. These special roadshow posters are becoming increasingly collected and are sometimes considered the best posters on these titles.

Foreign Posters

Movie posters were manufactured and distributed in England, France, Belgium, Italy, Germany, Denmark, Sweden, Spain, Austria, Poland, Russia, Argentina, Mexico, Japan, China, India, Australia, and other countries. Each country produced posters for both original films from these countries and films imported from other countries. If you consider this for a moment, you begin to get an idea of the permutations of posters for any given film: a Belgian poster for an Italian film, a French poster for an American film, an Australian poster for an American film, an American poster for a British film, and so on. And each country produced its own particular poster sizes. To complicate matters further, there are original and reissue posters in foreign posters just as in U.S. posters, often without identifying marks to indicate whether the poster is original or reissue.

Obviously, developing a working knowledge of foreign posters is one of the difficult challenges of poster collecting. Yet, more American collectors are discovering that foreign posters can be wonderful. More and more foreign posters are being offered at auction and by dealers. Some dealers in the U.S. have specialized in foreign posters. Certainly these dealers are knowledgeable and their expertise is valuable. And there are a host of dealers overseas who sell to clients in the U.S. The movie poster hobby is strong overseas as well, especially in England and Europe, where there are numerous poster auctions.

Certainly the French, Italian, and Belgian posters represent the mainstay of foreign posters that we see in the U.S. Since the collapse of the Eastern Bloc, posters from Poland, quite remarkable in many ways, have made their way into the U.S. Several years ago a huge influx of posters from Argentina were discovered, and many have found their way into the U.S. market. British posters, especially rare from the pre-War years, are gradually finding their way into the U.S.

For more information about foreign posters, try to find the books by Stanisla Chocko and Jean-Louis Capitaine.

One thing worth noting about foreign posters is the interest that foreign poster collectors have in the artists that designed the posters. This contrasts with posters in the U.S., where posters were usually designed by unknown studio workers whose work has gone largely uncredited. The poster artist is often ignored in the U.S., with the exception of posters designed by famous U.S. illustrators such as Rockwell, Vargas, Bass, Hirschfeld, Frazetta, and others. Not so in Europe, where a long tradition of posterization since the time of Toulouse-Lautrec and others have created an awareness of the artists that created the posters. This is a fascinating and worthwhile apsect of foreign poster collecting. Names like Mascii, Roger Soubie, Lenica, Peron, Ballester, and many others are associated with great poster design. Some collectors will collect posters simply for the artist’s work, without an interest in the film whatsoever.

Finally, remember that foreign posters will have titles that are not in English. So Captain Blood becomes Capitaine Blood in France as Les Enfants du Paradis becomes Children Of Paradise in the U.S. Yet, somehow Casablanca is known universally as Casablanca.

Condition

Questions of condition are basic to movie poster collecting. People describe condition differently. I'm not going to try to define these labels like "very fine", "good", "near mint" etc. The fact is: What is very fine to one person may be only very good to another. A poster described casually as being in good condition may be very fine to you. The best way to assure that the poster is in the condition you require is to see it. The second best way to deal with someone who has a reputation for being fair. A fair person knows that condition is a factor. Ask the person to describe a poster to you in detail. Is there any paper loss? Are there any tears or fold separations? Are there stains or watermarks? Are there any marks or writing or imprintations on the poster? Is it brittle? This is the way to assure getting a poster in a condition that you can live with NOT mincing words about very fine, excellent, very good, near mint, fair, poor etc. If you order a poster mail order you should be able to return it if the condition doesn't satisfy you. Period. If the seller says he won't tolerate a return, you have no one but yourself to blame if you don't like the condition of a poster when you get it mail order. Many fears about condition can be avoided altogether by simply dealing with someone who understands your requirements and offers you full money back satisfaction.

Restoration

An entire article could be written about poster restoration. Restoration is the attempt to upgrade and improve the appearance of a poster through paper conservancy techniques. A good paper conservator is a skilled worker, an artisan. He attempts to extend the life of a poster by washing and removing acids and pollutants from the paper, strengthening and improving the appearance of the paper through special mounting techniques, and, if needed, cosmetizing defects in a poster by overpainting areas which may be missing.

Restoration can improve the looks of most posters, but there are limits to what can be achieved. If a poster has a hole in it, it has a hole in it. You can cosmetize that defect, but no true restoration here is possible. But if a poster has border tears, separations, or holes where the paper has been bent back, so that, in effect, there is a semicircular tear, a restoration is possible. There are some great posters of which the only known copy or copies are restorations. Thus, there is a legitimate time and place for restoration. But, restoration is costly and so restoring a poster must be cost effective to be considered. A word of warning: not everyone who says he does restoration is necessarily good at it. You get what you pay for, and fees for restoration can run from the bargain basement to very, very expensive. Never entrust a valuable poster to anyone for restoration unless you have made an effort to find out whether the restorer knows what they are doing. Undoing a bad restoration is triply expensive and sometimes impossible. Get some knowledge yourself and get a good recommendation. Here again, knowing a reliable dealer can help.

Notes on scarcity

Movie posters were never intended for distribution to the general public. They were intended to go to the exhibitors where the general public would see them and be moved to see the films they advertised. That's all. Their desirability as collector's items has ever been enhanced by this one simple fact: they were not printed and sold to the public at large. Unlike many other areas of paper collectibles which were originally intended for mass consumption, movie posters were not. Whatever the printrun for any poster on a given film may have been, it is certain that the printrun was small compared with what they might have been had they been destined for the public at large.

Exactly how many one sheets? How many three sheets, etc? Impossible to say, with absolute accuracy. This would have varied with the film and its anticipated distribution. In general, there were fewer of the larger posters printed than smaller ones. (This gives birth to the theory that a three sheet should be worth so many times the value of a one sheet, and a six sheet twice the value of a three sheet, etc. This is a theory to which I do not personally subscribe - certainly not in every case. You may take this into account, but I think we must look more to the merits of a given poster in a given size to determine it's desirability. Not merely it's size and not it's scarcity. Factors such as these will contribute to driving the desirability and value (and thus the price) of a poster, but not determine them.) Printruns for every size poster were, indeed, limited. A specified number of posters in each size were ordered to be printed for the exchanges when a film was readied for its initial release. Rarely were posters reprinted unless a film was re-issued.

Originals, re-issues, reproductions, fakes

A poster is said to be an original poster for a film when it is known to have been printed and distributed concurrent with the first release of the film. A poster will often have a National Screen Service service number in the right (usually) bottom border area of the poster. Such a number might read, for example, 57-128. This configuration of numbers means that the poster was made for distribution in the year 1957 and that in that year said poster was for the 128th film that NSS had serviced for the studios. A poster which has a number configured like this may reasonably be construed to be an original poster from a film released in the year 1957, although rarely you will find films copyrighted in the year previous or following the year on the poster screen service number. Keep in mind that these numbers were not invented for the convenience of poster collectors but to assist in the day to day operations of what was a working business. So this numbering system may be regarded as generally correct, but not absolutely correct. Some posters may have no date at all printed on them. If you are concerned about the originality of a poster and there is no date, remember a pressbook for the film will probably show the poster, if you can find one. Or ask for the advice of a dealer or a trusted collector.

Films which were thought to have residual life in them at the box office were sometimes re-released by the studios years after their first release. Certain films were re-released or re-issued several times. Posters for films which were re-released were printed and they are referred to as re-issue posters. These re-issue posters are real movie posters in every sense, but they are simply made for the re-release, not original release of a film. They were usually marked with a "R" in the lower border area near the National Screen Service service number. For example, a re-issue poster for West Wide Story, re-released in 1968 will have R68 on the poster. These posters may have used the same designs as the original posters or entirely new ones, but the “R” designation indicates that the poster was intended for a film that was being re-released. That is why such posters will sometimes have copy to the effect that the film may be enjoyed again and again, or will, in some way clue the public that the film is not a new one. This was essentially a truth in advertising technique; after all, films were as ubiquitous as TV programs and the established producers did not want to be seen as passing off old films as new ones to an unsuspecting public.

A re-issue poster is not to be confused with a reproduction poster. A reproduction poster is merely a reproduction of a real poster, usually an original. Some movie posters have been reproduced by poster manufacturers for mass marketing. A poster producer merely takes a photograph of an old poster and reproduces it on poster stock. Several reproductions of posters from the thirties were done in the big nostalgia crazes of the sixties and seventies. These reproduction posters are not now all that common, and they usually are of films like The Wizard of Oz or Casablanca, where there is a mass market appeal. Reproduction posters rarely adhere to the standard movie poster sizes and their offsize nature and the presence of the name of the poster printer, such as Portal Publications, etc., will be easy clues that the poster is a reproduction. Of the tens of thousands of films made in the twentieth century, only small few have ever had their posters reproduced for mass marketing. There have been and are a few companies that have printed high grade photographic reproductions of lobby cards and posters, but these concerns advertise their products as such, and collectors will have little trouble in mistaking these posters for the real thing. Very occasionally printers may have been given access to the original plates for a poster but his is rare.

Forgeries and counterfeits are not unknown, but the incidents of this are, in my opinion, uncommon enough not to present a significant worry. Where there is money there can also be chicanery. Beware of what is too good to be true. If you have doubts about an item, you should seek the advice of a good dealer or a trusted collector. They should be able to tell you if a poster is original, re-issue, a reproduction or a phony.

A very short history lesson

Original movie posters have interested collectors for many years. These collectors were usually men (but now we are seeing a healthy interest from women, too) who were big movie fans. Many had worked in the exhibition business, as ad men, theater owners, projectionists, distributors. They had a nostalgia for this material and a knowledge of where these posters could be found: in the old National Screen Service branches and the independently run poster exchanges which existed around the country. They formed the nexus of poster collecting. Some acquired posters in bulk and rewarehoused them. Others simply approached the exchanges and asked if they might buy this or that. They began to trade with each other. Soon they were getting together at shows and confabs, trading in both posters and actual films. The early conventions happened in the later sixties, but by the seventies, film and posters conventions or shows, were common in the big cities. Stores specializing in selling movie posters, books and memorabilia began to spring up across the country. Collector ‘zines, like The Big Reel and Film Collector's World sprang up, and it was through publications like these that collectors began to know each other, correspond, and trade. The moment that the first movie poster was sold for a profit, the movie poster dealer was born. The mail-order dealer became the chief outlet for much of the trading that was done for many years. Some of the dealers that were there in the beginning are still in business. In the late 1980s, major auctions of film posters began. When the major auctioneers like Christie's and Sotheby's have made time in their schedules for film poster auctions, it indicates a wider acceptance of these posters as legitimate collectibles.

The Poster Market: Buying

Posters may be bought from other collectors, from dealers and from auctions. Information about where to buy posters can be found in any of the publications which cater to collectors. I have listed several of these in the section on selling.

Buying from dealers and collectors is usually pretty straightforward. He has something for sale. You want it. You ask about condition, you ask for a description. You ask about the price. Is it negotiable? Maybe yes, maybe no. What about a return policy? What about postage charges? Is postage refundable? What are the terms of payment? Dealers may have credit card options like Mastercard, Visa or American Express. A collector is more likely to want cash upfront, but may not have to worry about sales taxes and the like. A dealer operating in the same state usually will. Most collectors are good guys, honest and true. But sending $500 or $5,000 through the mail to someone you never met is daunting. Know who you are dealing with. A dealer who advertises regularly and who has been in business is going to be easier to appraise in this way. A dealer may publish his own catalog; this is very time consuming and expensive for him and increasingly rare. Many dealers now have computerized databases from which you can inquire by phone.

Buying from an auction house or on eBay is known as "bidding". An auction house gets an auction together and publishes a catalog of what will be auctioned. The catalog will publish low and high estimates for each poster - a range of prices in which the poster is expected to sell. Most posters will have a reserve. This is the figure that the auction house and the poster's consignor determined is the lowest price that the auction house will actually sell the poster. Reserves are not published. If the reserve is not met, the poster will not sell. Sometimes the auction house may be approached after an auction has concluded about a poster or lot, that has passed or gone unsold. The auction house may then approach their consignor as to whether the consignor wishes to sell the item at the reserve or some other price. A sale may result from this or not.

Any poster that is purchased in an auction is subject to a buyer's commission. These commissions range from 10% to 15% of the hammer price. That is, if a poster hammers for $1,000 and there is a 15% buyer's premium, then the actual amount that will be paid to the auction house if $1,150, plus any additional fees such as taxes and shipping. Shipping charges from auction houses can be steep.

The above are some of the objective concerns of buying. But there are subjective concerns as well. One man's trash is another man's treasure. This is another way of expressing that the concept of value, in poster collecting, is a relative one, and issues of worth are hard to define in terms of strict money. Beauty is in the eye of the beholder. Cavest emptor.

About Prices

A poster for Frankenstein auctioned for $180,000 plus a 10% buyer’s premium. It's an impressive figure, but what exactly does it mean? Does it mean that all such Frankenstein posters may be expected to fetch this amount in an auction or a private sale? Is there a solid market for this poster at this price? Will this poster be worth $500,000 in fifteen years? We don't know the answers to any of these questions, but we do know that what is demonstrated here is that someone was willing to part with almost two hundred thousand presumably hard earned dollars for this poster. Was it worth it? It was worth it to that person. That subjective factor in determining value must never be overlooked; after all, the objective record of prices realized for any given poster is merely the sum of all these subjective value judgments: worth it to whom and when? There are many private sales of many posters. These never become part of the records of prices realized because such sales are by nature confidential, but they nevertheless affect the market.

So how do you know what to pay for a poster? I think you not only keep your eyes and ears open to determine what you might be asked to pay but also I think that you have to ask yourself the same question that the buyer who purchased Frankenstein for $198,000 had to ask himself at some point: what is it worth to me? If you balance these two considerations, you can make a reasonable judgment about how much to pay. You may find a raving bargain in a flea market. More power to you if you beat the dealers to a great poster. Or you may be offered a poster you dearly want by someone you feel may be asking 200% more than you might expect it to be. But do you really know the track record on this poster. And what about your time? Do you have the time and money involved to track a similar copy down? These are subjective considerations that are involved in every deal.

These are some things you can weigh in the bargain:
1. Condition.
2. Have you ever been offered this poster before? Have you seen it for sale at what price or have you never seen it for sale at any price?
3. Is it good looking or evocative of the film or personality.

The Poster Market: Selling

You may buy for your own collection or you may buy for investment. Investing and collecting are two different activities. Don't confuse one with the other. Success in one area does not imply success in the other. A collector may be tangentially successful as an investor through a series of happy circumstances. But a collector is really concerned with acquiring items in his area of interest because he admires them. If he gets a good deal in doing so, he has made, in effect, a good investment, providing, at some point, there is an opportunity to sell. Many collectors would never sell what they have acquired. They enjoy their collections. An investor is looking from the beginning for the opportunity to divest; a collector is not. An investor in movie posters is just like an investor in the stock market, only with more risk generally. It is beyond the scope of this article, which must necessarily be focused on collecting, to address speculating in movie posters. It has been done, and done successfully. People have also lost money. If you speculate in posters to finance your collections, you must take the risk involved.

Collectors may wish to sell posters, however, without regard to making a return, specifically, on the investment.

Posters may be sold by advertising them directly in any of the various publications that cater to this activity, such as Movie Collector's World, or any other publication that I may have inadvertinently omitted. Websites such as I Collect Movie Posters.com or ebay.com are another good venue. In this activity the seller owes the buyer all the courtesies that he has expected as a buyer: reasonably prompt delivery, a right of return, etc.

Posters may be consigned to an auction, if the auction house wishes to accept them. This is somewhat more risky because the seller has less control over what the poster will actually sell for. A reserve will be set. That is the lowest price that the auctioneer will actually hammer the poster sold. If the poster does not receive a bid at least at the amount of the reserve, the poster will pass. In that case, the seller must usually pay the auction house something, usually 5% of the reserve or some minimum amount, for the service the auction house has provided in offering the poster during their auction. Of course, the upside of this is that the poster may be sold for more than expected. Read the contracts provided to consignors by the auction house. A commission must be paid by the seller to the auction house. This is called the seller's commission and it varies. Some auction houses have charged consignor's other charges as well. Payment from the auction house comes after the auction on lots for which the auction house has itself been paid. Posters have occasionally been known to hammer for high prices at auction and never actually sell. That's tough luck for the consignor.

Posters may be consigned to a dealer. The dealer, of course, wants to make some money from this, as he should. Details of a consignment must be worked out between the seller and the dealer. Use a reputable dealer; find out for yourself that the dealer is reputable. Sign a contract if you feel it's necessary, but at least lay out the terms of the consignment so that both the dealer and the consignor understand them explicitly. Working with a good dealer can be a very good way to sell a poster that you have without having to deal with the day-to-day inquiries of potential buyers, expenses of advertising etc. The poster may or may not sell right away, but you should have a firm idea what you will get if it does sell. Or if the price is somewhat negotiable you have better control over the deal than an auction consignment. The key to a successful dealer consignment is working with a dealer you respect and who respects you.

Posters may be sold outright to a dealer. This is often faster, but remember the dealer is in business to make money. He has an agenda in this activity as well as you do. He may already have the poster you have to sell - even multiple copies. So he may not be interested in investing in another. Or he may want a certain amount of time before paying. Selling outright to a dealer generally brings in less money than consigning, but there are times when it is desirable. Perhaps you know of something else you want to acquire which is time-sensitive and you need money. Again the dealer you choose is the most important thing here. Courtesy between the dealer and seller should be a two way street.

In Closing

These are some of the basics of collecting movie posters. Check out this website. Go to a convention. Attend an auction. Get on the phone with some dealers and chat. Call up another collector who likes what you do. Don't take anyone's advice as the gospel, but listen to the experiences of others with an open mind. Treat others in the hobby as you would want to be treated and expect the same.

What's a Mini Window Card?

Every movie poster collector knows what a window card is, but only a handful of collectors have more than a passing acquaintance with that size of movie poster known as the mini-window card. I myself had been dealing in movie posters for several years and had never knowingly seen one. Then one day at a convention in Houston, fellow nostalgia fantastic Robert Brown showed me a whole album filled with the little gems, most of them on blockbuster titles and all of them just gorgeous. Even then, I thought they were very nice, but had no desire to own one. Nevertheless, being the opportunist that I am, I kept my eyes open in case I could find one to sell or trade to Robert. To my great surprise, I couldn't turn up even one in the several months following.

So the next year at the Houston convention, I quizzed Robert extensively on the little buggers. I even traded him out of a few of his duplicates, and against my better judgment, I bought a couple of them. I was hooked! I determined right then and there to collect as many different ones as I could, and more importantly, to get at least one more than Robert had, even if he got more. It has taken 12 years and many dollars, but that day has finally arrived. The actual numbers are academic because Robert has not counted his lately, but we both agreed at the Dallas Big D show in July that we have about the same number. We are each closing in on 300 different. Whether I have more than Robert or not doesn't seem to matter any more because I know I am within striking distance. It's more important now to see if I can get to the big three-oh-oh.

What is it about these midget cards, smaller even than lobby cards, that attracts and enchants the few of us who collect them for their own sake? I wish I knew. This article, besides telling you all you ever wanted to know about mini-window cards but were afraid to ask, will also be an attempt to answer this question.

The difficulty of capturing the essence of these little creatures shows itself even in a rudimentary description of them. For example, they can be anywhere from 8 1/2 x 11 inches to 8 1/2 x 14 inches, depending on the artwork and on whether or not the theater imprint has been trimmed off the top. The artwork of all of the early Columbias and First Nationals, most of the Warner Bros. and MGM's, and some of the RKO's and Paramounts, exceeds 11", leaving very little room at the top for the theater imprint. The artists at Universal, Fox and Twentieth Century-Fox hardly ever went over the 11" mark, and RKO and Paramount only rarely did.

Mini-window cards can be found then in four different ways: 8 1/2 x 14 untrimmed with or without theater imprint, 8 1/2 x 14 untrimmed with one or more imprints pasted or stapled over a blank or earlier imprint, and trimmed to any size down to 8 1/2 x 11. I personally prefer them untrimmed in good shape with a theater imprint, although there is probably little difference in value for any of the ways they are found. More about imprints later.

The paper stock these cards are printed on is also a complicating factor. In general, for example, when Warner Bros. printed the lobby cards for a movie on linen stock, the mini-window card was done the same way. Same for early Columbias and their coated stock. They were all printed on a slightly smaller weight paper than the lobby cards (nowhere near as thick as a regular window card).

One real mystery has developed which I hope to shed some light on here. There are two different mini-window cards for The Adventures of Robin Hood -- one flat and one on a linen-like paper. I have seen both, and I don't really know why there is such a discrepancy. This anomaly may also involve other Warner Bros. films, but none has yet come to light. At first, I thought it was an "other company" piece, but I ruled this out because the artwork is identical. Besides, I know of no "other company" mini-window cards. Of course, since all the lobby cards I have seen are on linen paper, the flat mini-window cards from this title could be counterfeit, but this is not likely. More probably, the flat one was either a purposeful experiment or a mistake. Some of the mini-window cards somehow got printed on flat paper instead of linen. The only other explanation I can think of, which has been advanced by at least two collectors, is that the flat one is a same year reissue. My own theory is that the flat ones were not a reissue but a second printing, and that the printer had temporarily run out of linen stock.

There are only two characteristics of mini-window cards that are not controversial. They are always printed on the vertical, like an insert, and they were hardly ever reissued. In fact, I know of only one reissue mini-window card--the 1939 reissue of All Quiet on the Western Front. Moreover, this one may have been reissued because when the movie first came out in 1930, there were no mini-window cards.

This brings me to my next point. When were they made? It seems that they came in with the talkies and were killed by the returning World War II soldiers and sailors. More likely, they were determined to be useful when the neighborhood concept materialized early in the Great Depression and they disappeared along with the bulk of the neighborhood candy and cigar stores and cafes after the war as people moved to the newly-built suburbs. They also could have succumbed to the paper drives during the war, and as the smallest poster size, were just never revived.

At any rate, my earliest card is dated 1932 and my latest one is 1947, and I have not seen any dated earlier or later. In a study of the 276 different that I own, which is probably a pretty representative sampling of those remaining, they average between 13 and 22 different for each year from 1932 until 1937, when I have no less than 38. I have 22 dated 1938, and 43 for that glorious year 1939. There are 20 for each of the next two years, and then they taper off gradually until 1947. What I know of Robert's cards bears out these statistics. While there is some overlap, the percentages are similar. The obvious, although unscientific conclusion, is that they were used steadily until the war began, and then, like nearly everything else during the war, they were gradually put on the back burner.

A breakdown of my cards by major studios yields interesting results also. The first and last years for each one follows: Universal....1935-44
Paramount....1932-40
Fox/20th.....1932-44
RKO..........1932-40
Columbia.....1932-42
MGM..........1933-43
Warner Bros..1933-47


As can be easily seen, if this chart is accurate (and Robert's cards change these statistics only slightly and on the later end), it probably rules out both a Dracula and Frankenstein mini-window card, but does not preclude one for each of the many sequels and similar films through 1944. Moreover, there is a good probability of the existence of a King Kong mini-window card. Indeed, I have seen the pressbook, and there is a picture of one there. Whether any were ordered by a theater or a poster exchange is another question, however, and whether any were printed is even more tenuous.

Of even greater importance to many collectors is the likely non-existence of any silent mini-window cards or any of the great talkies before 1932 or those wonderful RKO film noir pictures from 1941 on (including Citizen Kane). Apparently, neither Paramount nor RKO had mini-windows printer after 1940. Sadly, it seems that Universal did not start using them until 1935, and then, along with Fox, Columbia, and MGM, the studio bowed to the wartime paper conservation. Warner Bros. was the only studio whose mini-window cards can be found from the beginning to the end of the run. I wonder if they knew that they were designing the last midget cards. Finally, the four poverty row studio mini-window cards I have (three World Wide/Tiffany cards and one Mascot serial card) date from the early 1930s. Alas, no Republic or Monogram mini-window cards have been reported, and very few cards of serials exist. Similarly, none of the great Disney or Fleischer studios cartoons were captured in the mini-window format.

As you would imagine, Warner Bros. mini-window cards are the most common, but Paramount runs a close second. This is surprising, since Paramount did not have a single mini-window card printed after 1940. Next down the line are MGM, Twentieth Century-Fox, and Universal in that order, with around the same numbers surviving (about two-thirds as many). Then comes Columbia, RKO, and Fox before the merger with Twentieth Century (about one-fourth of the surviving titles). Finally, with only two to four known are Tiffany/World Wide and Mascot. These figures include both blockbuster titles and non-star titles, because I relentlessly pursue any title I don't have.

My goal is to have one untrimmed mini-window card for every picture they were made for. As you can guess, this disease will be terminal. By the way, for the purposes of this survey, First Nationals were combined with Warner Bros., and Cosmopolitans were counted as either MGM or Warner Bros., as appropriate. Finally, Fox and Twentieth Century-Fox were arbitrarily kept separate.

Common sense would tell you that these tiny gems were used in tiny places, and your logic has not failed you. Like regular window cards, which were used in grocery stores and banks and other large outside store windows to advertise the movie at the local theater, mini-window cards were used in a similar way. They were mostly placed in glass cases inside the store by the cash register in such establishments as cafes, drug stores, cigar stores candy stores, and the like--usually taped inside the case facing out.

This fact alone accounts for the wholesale decimation of the mini-window card population, regardless of the print run, because these places tended to be mainly frequented by people from the neighborhood who would want to know what was playing down the street Tuesday and Wednesday at the Roxy. In fact, they might have no other way of knowing unless they happened to pass the theater and check the marquee. And if the star on the card happened to be a favorite of a good customer, the proprietor of the store would gladly give the poster to him to keep his business. Besides, it didn't cost him anything. Then, when the theater manager came to collect the mini-window card to send back to the poster exchange, if the shopowner had given it away, it wasn't any big deal because it only cost him three cents. You have to come to the conclusion that the very nature of their use contributed to the eventual destruction of thousands of these posters.

Another contributing factor to the small number of mini-window cards remaining was the subsequent treatment of them by theater poster exchange, movie memorabilia dealers, and even collectors. I heard one horror story of a poster exchange folding them in half and using them as alphabetical markers for one-sheets and lobby cards! Again, probably because of their size, their low cost, and their general flimsiness, theater managers and poster exchange operators tended to give or throw them away. Alas, mini-window cards became victims of their own beauty and economy. Similarly, they were largely ignored or treated as step-children by poster dealers who obviously thought that they would not be wanted by any serious collector. Collectors themselves unknowingly continued the destructive process by buying or trading for them only as fillers until they could get a larger piece on that particular film. Moreover, while a particular size of poster is even today typically in an upswing or a downswing of a cycle, mini-window cards have been since their inception on a perpetual downswing, never reaching anywhere near the popularity of first one-sheets, then lobby cards, and now three-sheets and foreign posters. Finally, there never were very many of them in the first place. There is no way, of course, to get an accurate print run, but an educated guess based on discussions with several collectors puts it at from 100 to no more than 500 for each title. Allowing for all of the destructive possibilities described above, there are probably only from zero to 20 remaining today for any one title. Exceedingly rare, to say the least.

When I first started collecting these midget jewels, I was amazed when I would go up to a big dealer from New York or California and ask him if he had any mini-window cards, and he would say, "What?" When I would describe them further, he would invariably answer, "Oh. No, I never see those." On the other hand, when I would approach a dealer from the middle West or the Southwest, I would often find one or two, or at least not have to describe them to him. Moreover, as I began noting theater imprints, I found them proclaiming such grand movie houses as the Kozy Theater--Granite, Oklahoma or the Orpheum--Lancaster, Wisconsin or the Deluxe--Spearville, Kansas or my personal favorite--the Empress Theater in Waurika, Oklahoma. I soon discovered that the vast majority of the surviving imprints came from the middle part of the country, and not from the two coasts or Chicago, as you might expect. In fact, I have found only one from the West Coast and none from the East. The Nifty Theater in Waterville, Washington is the lone coastal imprint.

It is my conclusion that most mini-window cards were ordered by small-town theaters in America's heartland, where there was only one theater per town. The rest, a small minority, were sent to neighborhood theaters in larger cities, but have since been lost through the processes described above. Another reason for their prevalence in the Southwest (and Oklahoma especially) may have been because the Smith Brothers, who operated a theater poster exchange in Canton, Oklahoma for many years, liked them and kept them (or sold them to Robert in Oklahoma City).

Incidentally, there is yet one more anomaly regarding mini-window cards. Many pressbooks will have a picture of one, but this is no guarantee that it was ever ordered or even printed. Furthermore, even though they may have been printed and used, there is no guarantee that any still exist today. Conversely, even though the pressbook may not list it, it may still exist. Some pressbooks were not very elaborate, and others may not be complete, either missing a page or not taking the trouble to have a photo of such a small, insignificant piece. At any rate, the pressbook should not be used as a bible; it is not infallible.

What films were midget cards produced for? Robert Brown says all of them within the years noted above for each studio, but that seems impossible. That would mean thousands and thousands of cards have been lost with no trace, since there are less than a thousand known titles. It seems more likely that there was some systematic way of deciding which movies needed them and which didn't. This is probably the most exasperating and unanswerable question of all.

Something needs to be said about the artwork itself. It should be remembered the mini-window cards were posters, not scenes from the film. They were designed, like the other posters, to get people to see the movie. Sometimes they were exact reductions of the one-sheet, and sometimes they were very similar to it, with minor color variations or rearrangements of the elements. Often they were completely different from all the other posters in the ad campaign. There is not much consistency, even within one studio, although Twentieth Century-Fox favored drawings rather than photos, and almost always simply reduced the one-sheet. Although each studio eventually developed a distinctive look, at any given period during the life of the genre, it could have drawings only, with no stars, or drawings with stars, photos only, or any combination of these. The only consistent thread running through 99% of them is that they are knockouts--even the non-name titles, but especially the linen cards. they all have fresh colors, no folds, and with the imprints, they are brimming with history. In a word, they are simply beautiful.

Finally, a little bit about pricing. First, there's the interminable argument about trimmed vs. untrimmed. My preferences having already been demonstrated, a slight premium is not inappropriate for an untrimmed mini-window card. Having said that, I realize I might have just cost myself several hundred dollars, but I have to be honest. Untrimmed cards are just more attractive. The final judgment remains, however, between the buyer and the seller, and it will always be so. Regarding price as related to one-sheets, lobby cards, etc., my opinion is that they should be priced about the same as, or a little more than, a title card. I've discussed this at length with many collectors and dealers, and the range has been surprisingly small. To a man, we agree that they are probably worth not less than the value of a scene card and not more than an insert form the same movie. From here on--caveat emptor!

Before I close, I would like to thank several people specifically for things they have done for me during my quest for these posters--Robert Brown for getting me started and for keeping me going during the lean years; Gene Andrewski for first calling attention to their importance in the early days and for being one of the first real collectors; Steve Sallye for finding me my only serial card and for pointing me to midget cards at shows; Jon Warren for selling me a lot of early Paramounts at a reasonable price and for giving me the opportunity to finally get these thoughts down on paper; Lee Brinsmead for trading me a nice lot of cards and for being an all-around good guy about letting me have first shot at any he gets; Gary Vaughn, who kept Saratoga for me until I could get it back and who brokered the deal that lost Casablanca but got so many great others; and mostly Gene Arnold, who sold me the absolute best one in my collection and who still saves them all for me until he sees me; and all the other good guys who do the same. You know who you are. Thanks.

In conclusion, let me make the standard disclaimer. This article was written by picking the brains of several collectors and dealers, pooling all our ideas, and, using the information collected, coming to what I hope are logical conclusions. The information here was not gleaned from any written source, because I couldn't find anything on them; the conclusions are my own, and I take full responsibility for them.

How do I grade my movie posters?

Collecting original movie posters and related memorabilia is gaining popularity in the United States and worldwide. The movie memorabilia areas on eBay are among their most popular, and a recent traffic report on Amazon.com showed that movie posters and related memorabilia was their #2 most popular area (behind Pokemon).

As coin and stamp collecting matured as a hobby, non-partial third party grading services formed whose purpose was to accurately grade and certify these items. Indeed, even sports cards and comic books now have third party grading services. Dealers and collectors in these fields report that selling a rare non-certified baseball card or comic book is becoming a nearly-impossible task. Many collectors in these hobbies seek to have their collections certified by these grading services. This certification is what creates a liquid market for "sight unseen" collectibles, with the certified grade being a sort of insurance policy or guarantee of authenticity and condition.

All of these services are based on some version of a 10-point scale. An item rated as a 10 is the highest degree of perfection, often called Mint, and an item rated as a 1 is in horrible condition, virtually worthless except for extremely rare items.

I believe someday all collectibles will be graded using a 10-point rating scale, and that this universality will be a factor in making collectibles a recognized investment like stocks and bonds. Grading services will exist for every collectible hobby, and these grading services will enable a liquid marketplace for massive trading in collectibles of all kinds. Collectors will view their collection “portfolio” as a source for retirement income in the same way that stock investors do today. EBay will be the "NASDAQ" for the liquidation of these collectible investments. This isn't a great insight on my part, it is already happening in a small way, and I believe it is just beginning.

Until the introduction of our 10-point system, the movie poster marketplace suffered from a lack of a standardized system for ranking of condition. Each movie poster merchant more or less "invented" their own system, with one seller's "Fine" equal to another seller's "Condition B" and yet another's "Excellent." In our opinion, lack of grading consistency among merchants is a major obstacle to growth in our hobby. Why? Because buyers feel more secure with "sight unseen" internet buying when they are familiar with a consistent grading system. New collectors in any hobby become advanced collectors through knowledge, including knowledge of terminology. Without such a set of grading terms and definitions, buyers may feel confused and uncertain about the quality of items they are buying over the internet or through the mail. Confusion and uncertainty are not good for the growth of any hobby.

Our 10-point scale for rating movie posters is similar to systems already adopted in other hobbies such as coins, comic books, and sports cards. By using a set of standardized grading terms, we can ensure the growth of the movie memorabilia hobby now and in the future.

I welcome your feedback. Please e-mail me with comments and suggestions. My e-mail address is jon@2ndmarkets.com

I have outlined the various grades, and described the specifications for each. These grading definitions are intended to help you rate the condition of your posters. As in any collectible, the better the condition of an item, the more valuable it is.

THE ART OF DESCRIPTION

When grading items, one should remember the goal: to paint an accurate picture in the mind of the potential buyer of what to expect upon receipt of the item. Of course, a picture is worth a thousand words, and often a seller can include high-quality images to help describe the poster, but too frequently an image does not clearly show all flaws. This is when a good grading description becomes invaluable. The buyer relies on the seller's honesty and accuracy in disclosure. It is therefore incumbent upon the seller to do the best job possible.

This being said, writing grade descriptions is more of an art than a science. One can be too brief, or too comprehensive, with equally bad effect. If too brief, the reader has an eerie feeling of uncertainty which causes a decision not to buy. Too much detail, and the opposite can happen: the buyer imagines the accumulation of flaws in the description of every tiny flaw and pictures an item that is in horrible shape, when truly this is not the case. Particularly in the higher grades, all flaws should be described (C8 or higher) in detail. Any obtrusive flaws should always be described, regardless of the grade.

It is our opinion that the buyer must be satisfied with the condition of the item upon receipt. If not, the seller must be willing to give a refund to the buyer upon return of the item in the same condition as when sent. This follows generally accepted policies in other mail-order retail activities. If you order a gadget from Sharper Image, are unhappy with it upon receipt, you have the right to return it for a no-questions-asked refund. This is as it should be in our hobby as well. We should follow the "customer is always right" rule.

Buyers are human too, of course, and are subject to the limitations of our species. In the course of your selling, you will encounter buyers who are "return prone" and who never seem to be happy with a description, no matter how detailed. You are under no obligation to sell to these people; and, once you have identified them you are within your rights to ask them to never purchase another item from you.

MINT 10.0       (M 10.0)       (C10)

An extremely rare grade for all but the most recent items. Item is "as new" or in the same condition as the day it was made.

The C10 grade represents an extremely rare state of preservation and should NOT be used unless the item is absolutely perfect!

The item exhibits an amazing state of preservation with virtually no perceptible flaws of any kind, other than very minor flaws which may have occurred during the printing process.

Printing registration should be perfect. In many cases an otherwise "mint" poster may have printing flaws in the registration, or alignment, of colors causing one color to stand slightly offset from the others. This should be almost imperceptible otherwise reduce the grade to C9.

The folding/trimming process should not have resulted in any damage to the item of any kind. Sometimes a poster may have slight fold lines which occurred when the poster was put through the folding machine. If the fold line broke the ink, causing a faint white line, the item should not be graded C10.

No edge fraying or dents/impressions are allowed in this grade.

NEAR MINT 9.0       (NM 9.0)       (C9)

Item may be in "never-used" condition or may have been used in the theater, but was carefully preserved after use. The poster should appear to be in absolutely superb, unusually excellent condition. Older posters in this condition are extremely rare.

The following flaws are acceptable in this grade, but should be described:
  • One tiny pinhole in each corner, or a maximum of 4 pinholes
  • Slightly offset color registration
  • Very slight compression marks (indentations) from movie theater use (IE: Clamped in a display)
  • No fold wear or if fold wear is apparent it should be almost invisible. Fold lines should not be white. All original color must be present.

The following flaws are NOT acceptable in this grade:
  • Creases, except fold creases occuring at the time of manufacture
  • Tape or tape stain residue
  • Minor holes
  • Writing, (marker pen, biro etc.) on the front of the poster
  • Foxing (light brownish spots that look almost rusty)
  • Dampness staining
  • Paint staining
  • Soiling, i.e. mildew or dustiness
  • Minor Fading
  • Minor Paper loss (very small piece missing)
  • Censor stamp/sticker
  • Border chips
  • Staple marks


VERY FINE TO NEAR MINT      (VFNM 8.5)       (C8.5)

The observer should note that all of the above variables (from the C9 description) also apply to the C8.5 grade, so we won't repeat them here. The accumulation of flaws push the item to this lower transition grade.

VERY FINE 8.0       (VF 8.0)       (C8)

Item may be in "never-used" condition or may have been used in the theater, but was carefully preserved after use.

If a C9 is almost like new, then a C8 is not as nearly perfect but still quite excellent.

Poster should be bright, supple, and clean.

An accumulation of more than two or three of the following flaws should cause the grader to assign a lower classification.

The following flaws are acceptable in this grade, but should be described:
  • Tiny pinholes, up to a total of 10
  • A border crease or corner crease, but should be a small one, and not more than one or two very small ones. Small is defined as less than one inch.
  • Slightly offset color registration
  • Very slight compression marks (indentations) from movie theater use (IE: Clamped in a display)
  • Very slight fold wear, resulting in slight color loss at the folds; but, if the fold wear is such that a distracting white line results, then the item would not qualify for a C8 rating.
  • One very small tape stain can be permitted but NO TAPE.
  • Minor tears are allowed in this grade, but they should be MINOR, meaning less than 1/2 inch or 1 cm in length, and not more than two total tears on the item. Common areas for tears on posters are at the folds, especially the interior folds where the item may have been unfolded and then refolded. This kind of minor paper separation (tear) is common and is acceptable in a C8 grade notwithstanding other extenuating circumstances.
  • Very slight edge or fold wrinkling or fraying is acceptable
  • Writing, (pencil, light pen) on the front of the poster if it is very small and in an unobtrusive area (a mustache pencilled on Bogart's face would not qualify). Window cards may have writing in the appropriate area.
  • Writing on the back of the poster which DOES NOT BLEED THROUGH is acceptable in this grade.
  • Foxing (light brownish spots that look almost rusty) must be mentioned and is permissible only if very slight.
  • Dampness staining can be permitted if it is a very small stain and is described.
  • Very slight soiling, i.e. mildew or dustiness
  • Censor stamp/sticker if it is very small and only if in an unobtrusive area of the item.
  • A small border chip can be present if it is less than 1/2 inch square and is described in detail
  • Staple marks if they are very slight and clean, not torn.
The following flaws are NOT acceptable in this grade:
  • Tape
  • Punch holes
  • Heavy writing, (marker pen, biro etc.) on the front of the poster. The exception to this rule is window cards, which had a blank area at the top of the poster for writing show dates and which may have show dates written in heavy grease pencil and still quality for the C8 grade.
  • Heavy writing, (marker pen, biro etc.) on the back of the poster which bleeds through
  • Paint staining
  • Heavy soiling, or dingy dirtiness
  • Severe Fading
  • Large Paper loss (one or more large pieces missing)
  • Very large (more than 4" by 4") censor stamps or stickers
  • Multiple Border chips
  • Heavy and torn staple marks


FINE TO VERY FINE 7.0       (FVF 7.0)       (C7)

A nicely preserved item. An item in this grade has many of the same flaws as the higher C8 grade, but, because of a greater accumulation of flaws, can not be assigned the higher classification.


Whereas a C8 grade may only have two or three of the above flaws, a C7 may have 7 or 8 of them.

The following flaws are to be expected in this grade:
  • Pinholes or staple holes
  • Tape
  • Creases
  • Fold wear, resulting in slight color loss along the fold lines
  • Fold holes: one or two very small ones
  • Very minor fading
  • Heavy writing, (marker pen, biro etc.) on the front of the poster. The exception to this rule is window cards, which had a blank area at the top of the poster for writing show dates and which may have show dates written in heavy grease pencil and still quality for the C8 grade.
  • Writing, (marker pen, biro etc.) on the back of the poster which may slightly bleed through
  • Minor dampness staining
  • Minor soiling
  • Paper loss (one or more pieces missing)
  • Censor stamps or stickers
  • Border chips
Please note that all of the above variables (from the C8 description) also apply to the C7 grade, so we won't repeat all of them here. Instead, we would like to make it clear to the reader that the C7 grade is a transition grade, still quite nice, but obviously used and unable to honestly be credited with the higher C8 grade because of an accumulation of flaws.

FINE 6.0       (FN 6.0)       (C6)

A Window Card with the top border trimmed away should not be rated higher than C6, even if in otherwise C10 condition.

Several pinholes in each corner of the poster, from being displayed, is acceptable in this grade.Pinholes may be present in background, artwork or typography areas.

Tears in this grade should be no longer than 1 inch to 2 inches in length, and totalling not more than four tears. Minor fold tears are acceptable but should be described.

Light creasing is allowed in 1 or more of the four corners and/or along 1 or more of the four borders. Creasing may affect background, artwork or typography areas but should be described as such.

Minor writing and/or marks, i.e. (marker pen, biro etc.) on the front of the poster, is allowed in this grade, however, such writing should be described. Writing on the back of the poster, which DOES NOT BLEED THROUGH, is acceptable in this grade but once again should be described.

Posters which have been folded may have fold wear in this grade. This is acceptable, providing the wear does not significantly affect the eye appeal of the image, and has not damaged any print on the poster.

Poster should be bright and supple.

Poster should be the correct measurement for its size, and show no signs of it having been trimmed on any of its borders.

Minor edge fraying or wrinkling is allowed in this grade but should be described as such.

Minor surface paper loss is allowed in this grade if documented in the description.

The following flaws are acceptable in this grade, but should be documented and described:
  • Numerous, countless pinholes
  • Border creases which may extend into the image area of the poster
  • Tape or tape stain residue
  • Minor holes
  • Writing, (marker pen, biro etc.) on the front of the poster
  • Foxing (light brownish spots that look almost rusty)
  • Dampness staining
  • Paint staining
  • Soiling, i.e. mildew or dustiness
  • Minor Fading
  • Minor Paper loss (very small piece missing)
  • Censor stamp/sticker
  • Border chips
  • Staple marks
Linen/Paper backing can improve or eliminate the faults mentioned above. Cost of restoration will depend on the skill of the restorer, as well as the number of defects that need to be repaired.

VERY GOOD TO FINE 5.0      (VGFN 5.0)      (C5)

The observer should note that all of the above variables (from the C6 description) also apply to the C5 grade, so we won't repeat them here. The accumulation of flaws push the item to this lower transition grade.

VERY GOOD 4.0      (VG 4.0)       (C4)

Poster will exhibit any or all of the following flaws, which seller may or may not describe in detail:
  • Numerous pinholes
  • Numerous creases
  • Numerous tears which should be noted
  • Heavy creasing in all four corners/four borders, as well as in the background, artwork and typography areas of the poster.
  • Writing and/or marks, in marker pen and/or biro, on the front and back of the poster
  • Writing in bigger letters/numbers, such as displaying show times and/or dates
  • Posters which will have been folded will have heavy fold wear in this grade.
  • Fold separations or tears located anywhere on the poster
  • Severe edge fraying or wrinkling
  • Several holes, of from 1 to 2 inches in diameter each
  • Pieces of tape and/or tape stain residue
  • Severe damp staining
  • Soiling or other signs of aging
  • Severe to moderate fading over most areas of the poster
  • Paper loss and/or small to medium portions of paper missing
  • Censor stamps/stickers
  • Trimmed borders
  • Brittleness of paper
The poster shows many signs of wear and tear. This grade is applied to the average used poster or lobby card.

GOOD TO VERY GOOD 3.5      (GVG 3.5)      (C3.5)

The observer should note that all of the above variables (from the C4 description) also apply to the C3.5 grade. The accumulation of flaws push the item to this lower transition grade.

GOOD 3.0       (G 3.0)      (C3)

Countless pinholes all over of the poster, from being displayed, are expected in this grade. Pinholes may be scattered around borders, background, artwork and typography areas. Some/many of these pinholes may be larger and may have been ripped/torn when the poster was removed from display.

Tears in this grade are to be expected. Tears may have caused heavy surface paper loss.

Heavy creasing in all areas of the poster is normal in this grade.

Heavy writing and/or marks, in marker pen and/or biro, on the front of the poster, is expected in this grade. Heavy writing and/or marks may be over faces/bodies of actors/actresses, and may include defacement. Heavy writing and/or marks which bleed through from the back of the poster is expected in this grade. Heavy writing in bigger letters/numbers, such as displaying show times and/or dates on the poster will be found over any background/main artwork or typography areas.

Posters which will have been folded will exhibit heavy fold wear in this grade.

Any or all of the following flaws are normal for this grade:
  • Severe fold separation, either on borders or interior fold lines (where the fold lines meet), with the separation being 2 inches or more in length. A heavy area of surface paper loss around these separations is normal.
  • Heavy edge fraying or wrinkling.
  • Holes of more than 1 inch in diameter. These holes could affect any area of the poster.
  • Pieces of tape/tape stain residue, of more than 2 inches in length. These tape/tape stain residues may affect any area of the poster.
  • Heavy foxing
  • Heavy water staining over most or all of the poster
  • Heavy paint staining over most or all of the poster
  • Heavy soiling, i.e. mildew
  • Severe fading over most or all of the poster
  • Heavy paper surface loss and/or large portions of paper missing, affecting any area of the poster.
  • Poster may have censor stamps/stickers, and these may affect any area of the poster.
  • There may be complete fold separation, along all/most of 1, or more, vertical/horizontal fold lines, causing the poster to be in 1 or more pieces.
  • Poster may have fragile, brittle paper, which may break and come apart, when opening/closing the poster. Careful handling will be needed.
  • Paper loss from borders
  • Staple marks
  • Poster may have one or all four borders trimmed


FAIR 2.0       (FR 2.0)      (C2)

An extremely worn and torn example, heavily used, not preserved.

POOR 1.0      (P 1.0)      (C1)

Item will exhibit some or all of the defects described in C2, but to a greater degree. Only the rarest of items will have any value in this grade.

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