Entertainment – Page 6 – Inherited Values

Get Your Freakies On!

Cereal and cereal boxes hold a special place in my heart. They are as familiar as family at the breakfast table. Maybe more so. For when my sister was young, she went through this phase where no one, especially our Dad, was allowed to look at her in the morning. (Some weird Vanessa Huxtable stage — that’s still kind of around. Sorry, Jackie; but you know it’s true!) Besides her yelling in protest, one of her defenses was to place the cereal box in front of her, hunching herself behind it to hide from anyone who might dare glance at her. I don’t think anyone in the family knows exactly what she looked like in the morning during those years… But I readily recognize the cereal boxes from that time today.

My favorite cereal box was — and is — Ralston’s Freakies.

Freakies was a short-lived cereal, produced by Ralston from 1972 to 1976. But the impact of Freakies was huge. That’s because Freakies were more than a cereal; they were seven creatures with a story. Each Freakie, BossMoss Hamhose, Gargle, Cowmumble, Grumble, Goody-Goody, and Snorkeldorf (my favorite).

When little plastic versions of the Freakies started appearing in cereal boxes, I had to have them all. So did my sister — and everyone else under the age of, say, 16 years old.

Funny thing about Freakies; I don’t recall the cereal at all. Not eating it, anyway. I can’t even remember the flavor… I remember the Freakies, their story, and the box (often my sister’s “face,” remember?). But we must have eaten it, or I never would have had the little Freakies themselves. (Did I mention that Mom and Dad were serious about us eating the stuff?) I do remember having and playing with the little plastic Freakies. Sadly, I also remember selling the little Freakies online. It was one of my first big sales on eBay, way back in the marketplace’s early years. I was paid handsomely for them; but today I wish I’d never sold them. *sigh*

The Freakies and their story were the brainchildren of Jackie End. (How freaky is it that the face behind the Freakies had the same name as my sister who hid behind the cereal box?!) Sadly, Jackie End passed away in August of this year. You can read a great tribute to her here.

As a tribute to Jackie End’s wonderful creation, Freakies live on, inspiring cult fandom and collectors. Vintage or retro Freakies stuff sells. Figures, toys, magnets, animation cells, t-shirts, cereal boxes, advertising, and even Freakies cereal coupons are popular enough to make people pay.

I’m not exaggerating the continuing popularity of Freakies. In 1987, a new Freakies cereal was made. Without Jackie End. Now, the characters were aliens from another planet. And there was a change in the cast; while BossMoss and Grumble remained, the other characters were replaced by Hugger, Sweetie, Tooter and Hotdog. (Seriously? No Snorkeldorf?!) But the retro cereal re-do didn’t last long. If they had kept the original Freakies and their creator, maybe that cereal would still be around.

The good news is that you can still get official Freakies merch here, some of it signed by Jackie End herself. That’s because it’s sold at the official Freakies website, started by Jackie herself, where they are carrying on Jackie’s legacy. And that’s pretty sweet.

Now, if only I could get myself a vintage Freakies cereal box (with at least Snorkeldorf, please?) before the holidays… I’d love to set it in front of my sister during breakfast. (That’s a hint, Santa.)

Image Credits: Freakies Cereal box, 1973, and Freakies collection via Gregg Koenig.

Seven Freakies Cereal Premium Figures from Rob’s Vintage Toys & Collectibles.

Freakies Goods, t-shirts and Wacky Wobbler, from the official Freakies website.

Antiquing: There’s An App For That (Or, Why You Should Give iTunes & Google Play Gift Cards)

Whether you have a smartphone or a tablet, whether it’s an Apple or Android based, you can put it to work for you as a collector. Many of them are completely free; others just a few dollars. With apps like these, you’ll feel like the Harrison’s on Pawn Stars because you’ll have your own experts to consult anytime you need them! Here are a few of my favorites.

(Because I have an Android phone, I’m listing these with links to Google Play but you can find most, if not all, of them at iTunes as well. You can easily gift these apps by giving Google Play Cards and Apple iTunes Cards.)

There are scads of apps for alerting you to garage sales, including providing maps so you can easily get there. Pickers Pal has free and paid versions. (Note: Apps based on location will vary widely in results/reviews because some areas just fetch smaller results, so I say try free versions first to see if the number of results is worth it.)

The What’s It Worth? eValuator App determines the average eBay value of an article from the successfully sold items of the last few weeks; there are free and paid versions.

WorthPoint’s Price Miner has a free app, but it’s only for subscribers. To access it, use your wireless device to go to www.priceminer.com/iphone and login.

If you buy and/or sell books, Amazon’s Price Check app will show you what the book (or anything else with a barcode) is selling for at Amazon.

One of my favorite apps is from my local scrap metal guy. Not only does this sometimes help in evaluating the price to pay for metal objects, but there’s no reason I can’t pick up scrap stuff along the way, sell it to my scrap guy and use the profits to fund my antiquing. So look around and see if there are scrap metal apps like this to help you in your area.

The Antique Silver Makers Marks App is your digital catalog of makers marks for silver items. Why carry around a book when the knowledge can be in your hip pocket?

There are lots more apps that you might find useful. Just start searching! And please do tell us what apps you find useful!

14 Things This Collector Is Thankful For

Traditionally Thanksgiving involves giving thanks for family, friends, food and other blessings of a non-materialistic nature. I’ll be giving that little speech later today with family, don’t you worry about that; but this holiday I want to give special thanks from the bottom of my little collector heart.

#1 “Thanks, ancestors, for settling here.” And by ‘settled’ I mean just that, setting up permanent houses. No offense to the more nomadic peoples, but I’m a collector; I need a place to store my stuff.

#2 “Thanks to all the people who don’t throw things out.” If it weren’t for you, I wouldn’t be able to find and adopt them.

#3 “Thanks, mom and dad, for instilling in me the love of collecting.” You taught me many joys of collecting… the rush of finding, the thrill of bidding victory, the coolness of displaying it all… But more than object ownership & the pursuit of it, you taught me what objects & collecting really is about.

Objects were never ‘just things’, but stories, lessons, and connections. You taught me that everything has/had a purpose. It was made to solve a problem, to express an emotion, or was in some way a part of a larger story. That story may be personal or part of the collective human story — sometimes, the story begins as one and ends as another. You didn’t just share your stories & knowledge, but did so with enthusiasm. And you encouraged us to share our own stories about what we learned, which in turn encouraged us to become lovers of learning.

These lessons in history, culture, art, form & function were all valuable — but none more valuable than the time spent with you. May I have the brains and patience to convert the passion for stuff into such gifts for my children.

#4 “Thanks, mom and dad, for teaching me how to collect.” The lessons here were many… Simple money management skills, for example, have served me well. But learning how to evaluate and establish the value of something has impacted my life the most.

Value is isn’t always what you think it is. It’s not just the price you pay for it, and it may be something no two people will ever agree upon either. Yet when it comes to monetary value, this can only be determined when people agree upon it. So if you don’t agree with the price suggested, negotiate.

Lessons in negotiations taught me, even as a child, how to walk up to anyone with confidence and talk about anything — and how, when things weren’t going my way, to walk away politely without any upset. I’d done my best, but it just wasn’t going to work out this time. Everyone should learn that lesson.

If & when you agree to a value and pay it, no matter what that amount is, you should treat that item with great care. The true value of that object is what made you want it in the first place, and, whatever price you paid, that was money you worked hard to earn. Dismissing these intrinsic values in the object does more than dishonor the object now entrusted to your care, but shows disrespect for yourself. It’s not that the guy with the bigger pile wins; but rather it’s the girl with the most integrity, who takes care of her things and show value for herself, who does.

#5 “Thanks, mom and dad, for teaching me what collecting is — and what it isn’t.“ Things are not more important than people, but objects can be a link to the people in our personal pasts and long-gone members in our family tree. As we hand traditions and stories down, the original objects themselves are the tangible proof of who walked and loved among us, as well as those who walked before us.

That said, no one should ever love an object so much that they are willing to sacrifice a family member or family peace over it. People first, things second.

#6 “Thanks, teachers, for instructing me how to take an interest and turn it into an obsession.” Without the research skills you taught me, I never would have known how to sate my curiosity. Nor would I have learned that research may in fact only lead to more questions, more research, and that this too is a form of joy; the delight of discovery & the thrill of yet another new adventure are awesome things.

Of course, this would not have been possible if it weren’t for those who taught me not only to read but to love reading. (My book collection, especially thanks you.)

Ditto those who taught me to write. I may have cursed dangling participles, hated your red pen, but without you, my obsession & research would have no outlet.

#7 “Thanks to my dogs for not chewing on or otherwise destroying items and boxes left on the floor when we unload the van after a trip to an auction.” It means I have some time to make room for them all.

#8 “Thanks to my cat for reminding me that the boxes have sat there too long by sitting on top of the most visible box.” It reminds me the things in the boxes need better care, so I’d better find more safe and permanent storage for them.

#9 “Thanks to the guy who invented boxes.” It would truly suck if I didn’t have strong, stackable containers to carry things home and store them in.

#10 “Thanks, museums & their staff, for housing & caring for what I cannot.” Everybody has limits — even museums. But without you, where would things, large and small, go and be preserved? Thanks for doing all that you can so that these objects and their stories will be there for others when they desire to see and learn about them.

(And you make research that much easier too.)

#11 “Thanks, again, to all the people who don’t throw things out.” It bears repeating, because without you, what would I do?!

#12 “Thanks, hubby & kids, for not just putting up with me — but for collecting with me.” I love that we all go on collecting adventures together, and that we share our finds, discoveries, and stories. I love that you listen to mine (and review games with me on occasion), of course, but it’s not every mother, every wife, who is lucky enough to be the goal of a footrace as every one rushes to tell her what they found, how they found it, and why it’s so special.

Every time we talk about our things, asking questions — and listening to the answers, I think how lucky I am to have a close family comprised of such inquisitive & interesting people. It’s a privilege to collect with you.

#13 “Thanks, makers of the Internet, for creating a new world.” Without the Internet, my collecting world would be so much smaller… Smaller in terms of finding, buying, selling, researching, and meeting other folks as obsessed as I. It’s nifty to know that there are other nuts like me — folks even nuttier than me — ‘out there somewhere’; but it’s hard to put into words just how keen it is to meet these fellow-nuts, see their glorious stuff, and learn their stories.

#14 “A special thanks to you, dear reader.” Your reading, comments, and emails are proof that I’m not alone in my obsession… The objects of our affections may differ (delightfully!), but we are all a part of the same thing. It’s a privilege to collect with you, too.

Of Revolutionary War Items & Revolutionary Bidding

In Philadelphia, PA, Freeman’s auction house reports that “one great history lover” was dedicated to procuring every single item in yesterday’s Historic Muhlenberg Property from a Private Collection auction. The private collector, who wished to remain anonymous, was successful — spending $646,063 to ensure the entire collection would remain together and be added their own private collection of Revolutionary War materials.

This auction contained items from the Muhlenberg family, having descended through the family, which included an extensive archive representing the public and sometimes private lives of Pennsylvania’s leading German family from the period of the American Revolution through the Civil War.

The collection’s signature piece was The Grand Division of Color of the Eighth Virginia, a Regimental flag which descended in the family of the Regiment’s original commander, Peter Muhlenberg (1746-1807), the legendary “Fighting Parson”, who served in the Continental Army, as Colonel., Brigadier-General and finally as a Major-General. (His robe was featured on PBS’s History Detectives.)

The flag, which sold for $422,500, is cited in the 1849 biography, The Life of Major-General Peter Muhlenberg of the Revolutionary Army by descendant Henry Augustus Muhlenberg. (Henry Augustus Muhlenberg was the son of Henry Augustus Philip Muhlenberg and grandson of Henry Muhlenberg Jr. (1753-1815), General Peter’s brother.) The flag’s description reads as follows on pages 338-339:

The Eighth Virginia Regiment was generally known as the ‘German Regiment.’ By that name it is designated in the Orderly books of Generals Washington and Muhlenberg during the campaigns of 1777, 1778 and 1779….The regimental colour of this corps is still in the writer’s possession. It is made of plain salmon-coloured silk, with a broad fringe of the same, having a simple white scroll in the centre, upon which are inscribed the words, “VIII Virg(a) Reg(t)

Samuel M. “Beau” Freeman II, Freeman’s Chairman and specialist in Americana said, “Revolutionary battle flags are rare and those in private hands are almost unknown or only fragments have survived–this is an extraordinary discovery. Muhlenberg is a legendary hero of the Continental Army and this flag represents his Virginia regiment. This flag pre-dates the Tarleton Colors and may be the last remaining battle flag in private hands.”

Among the lots were hundreds of letters, including historical content concerning the political affairs of U.S. Congressman and diplomat Henry Augustus Phillip Muhlenberg, General Muhlenberg’s letters to his brothers about his military role, several letters from sitting presidents, and a document signed by Benjamin Franklin.

Called “especially illuminating” was the General Order and Brigade Order Book, kept by General Peter Muhlenberg’s orderly from May through November, 1777, a period that encompasses the battles of Brandywine and Germantown. That book set an auction record when it sold for $98,500.

As for the pieces from the Muhlenberg collection remaining together, Lisa Minardi, author of Pastors & Patriots: The Muhlenberg Family of Pennsylvania, Assistant Curator at Winterthur, and the president of The Speaker’s House (a preservation group that overseeing the restoration of Frederick Muhlenberg’s home), said it best. “This collector is my hero! It’s amazing that these items descended in the family and are now staying together in a single collection.”

Antique Odd Fellows: Native American Peace Medal On IOOF Collar

At a recent auction, we purchased a few Native American items from the former museum in Two Harbors, MN. Among them, this seemingly unusual combination: A Native American Peace Medal on an Independent Order of Odd Fellows (IOOF) collar.

This was not the only set; there were a total of three of these collar/medal sets. While one doesn’t normally think of Native Americans as Odd Fellows members, apparently it was a popular custom item in this area, anyway, for Native Americans to wear and display all honors.

The IOOF collar is beautiful in and of itself, with it’s decorated red velvet trimmed in twisted-metal fringe and tassels (one tassel is missing). The collar is secured by three oval chain links. The shape and materials date the fraternal cerimonial collar to the end of the 19th century. But the medal which hangs from the collar’s links is even more rare than the collar.

The medal is an Indian Peace Medals, presentation pieces to Native American or Indian chiefs as a sign of friendship. The series began as an idea in 1786, but were first produced during President Jefferson’s administration in 1801, with Jefferson Peace Medals designed and created by John Reich. Because the medals were given to significant members of tribal parties, the medals became sought after symbols of power and influence within Native American tribes and are commonly seen in Native American portraiture.

Most of the genuine Indian Peace medals awarded by the U.S. Government were made in silver and were issued holed or looped at the top, so the medal could easily be worn. (If a medal is not holed, and shows no sign of being looped, it is most likely a modern copy.) However, the Peace Medals were also struck in other metals, including copper. Starting around 1860, some of these were struck from the same or similar dies, for collectors. These copper pieces are known as “bronzed copper” because they do not look like copper coins. But given the popularity of the medals and the respect they conveyed, the Native Americans and traders also made or commissioned copies, in copper or silver-plated copper, of the Peace Medals too. These pieces are still over a hundred years old, yet even when produced by the US Mint, these medals are not considered “originals” as they were not awarded by the U.S. Government.

This specific Peace Medal is a John Adams Peace Medal, but it was designed and struck after Adams’ presidency. This medal does not appear to be silver, but, based on dimensions and weight, pewter. According to the Handbook of American Indians North of Mexico, Volume 1, edited by Frederick Webb Hodge (1907), a few of the Adams Peace Medals were struck in “soft metal” and these are “exceedingly rare.”

Our Peace Medal also appears to be the first design issued, as later variations do not have the fabric drape about the bust of the president, nor the year centered beneath the bust. The president’s bust on the obverse was designed by Moritz Furst, but the reverse is the same one the Jefferson medals. (This back design was used until the Millard Fillmore medals in 1850, when the reverse was changed. The reverse was changed again in 1862, during the Lincoln administration.) Interestingly, the Adams Peace Medal with the 1797 date was made later.

I’ve made some inquiries regarding this antique set and will update you as I learn more. Meanwhile, the set is in our case at Exit 55 Antiques.

UPDATE: In trying to find definitive information on this peace medal, I made multiple calls to auction houses and, per their recommendations, to companies which grade coins and other medals. Few seemed to know what I knew, or were willing to divulge what they did know about Native American Peace Medals. So I continued my research and then made a call to Rich Hartzog of AAA Historical Americana, World Exonumia. Rich seems to truly be one of the few people who knows — really knows — about Native American Peace Medals. I’d call him an expert.

During a phone conversation, Rich confirmed the “soft medal” version of this medal, but ours does not seem to be one of those. He clarified regarding the copper medals; while made for collectors, they are considered original peace medals — but are not presentation pieces given to chiefs and other leaders. And, finally, we determined that our peace medal is likely a more modern copy. It wasn’t just that the medal is made of pewter, but the fact that the medal is attached to the IOOF collar or baldric. Seems roughly five or six years ago someone began setting the copies of peace medals on these collars. Such medals still have a modest value; Rich says roughly $20-$40, compared to the hundreds and thousands of dollars originals bring.

While this may be a disappointment to hubby and I, I have learned a lot about peace medals — and learning is a huge part of why I love this business. I don’t mind admitting that I’m unsure of what I’ve found. In fact, I love researching, including asking people who specialize and know more than I do.

What’s This Antique Primitive Barrel Or Keg For?

My most recent Collectors Quest column was about primitives. Within a few hours of that column being published, I received an email about one of the items in the photographs, a small-to-medium sized antique keg or barrel.

Deanna,

I just saw a photo on your post I’d like info on. It was a primitive barrel-like container with a stoppered hole on top.

I recently obtained something very similar and don’t have a clue as to what it is. Can you tell me?

Thanks,

Patti

There are no labels or markings on this keg; no clues inside to what it once held. And, being handmade, there are many variations in size and design on barrels and kegs. The keg in the photo is now in our booth at Exit 55 Antiques, but to help you identify it, let me describe it in more detail. The keg stands between one and two feet tall. It’s made of tin, or other thin and light metal, covered in wood. (You can spy the metal through thin gaps in the wooden pieces.) There is a corked-hole, slightly off-center, at the top. The construction itself tells us what this was likely used for.

The hole at the top tells us that this barrel once held liquid. Where the hole is positioned tell us that the liquid was to be poured out. And the stopper at the top tells us that the liquid was likely poured out in small amounts at a time, rather than completely emptying the barrel all at once.

The tin or other lightweight thin metal also suggests a fluid. The wood used to cover the inner metal barrel was likely applied to protect the thin metal from punctures as well as to add strength to the piece, avoiding accidental ruptures. At the same time, use of wood keeps the piece relatively lightweight. (Had thicker metal sheeting been used, this keg when full would be very heavy and difficult to pour from.)

As mentioned, there are no obvious clues to what liquid this antique barrel may have contained. I’m sure scientific testing would provide results; but I’d rather save my money for buying more collectibles. *wink* Plus, like many primitive pieces, barrels like this were reused and repurposed. So even if we knew what it last held, it may not have been what it originally contained.

The best guess hubby and I have is that this antique primitive barrel was used to store household oil, like oils for cooking, kerosene for lamps, benzine and naptha for cleaning and other uses in the home. But honestly, there are a lot of options in types of fluids used back in those years — many of which likely occurred over the life of just one barrel.

The Medium In The Math Lesson

When I first spotted this page in Study Arithmetics: Grade Three, a vintage school primer published by Scott, Foresman and Company, I thought of the old filmstrips we had in school. But it turns out, the film show in this old math lesson is “moving picture” film. There are actually several lessons using film as a teaching tool, which is rather cool. If the concept of movie film being understood enough at this time for the average third grader to put to use learning math amazes you, just remember that film was then more commonplace than it is today.

Not all of the lessons are as outdated as you might think! You can see different images from this book here.

End of the outdoor selling season

I’m Pick, owner of No Egrets Antiques on eBay and seller at shows and markets. Grin is my husband and merchandise loader and hauler.

Pick: I just finished pricing and wrapping the last batch of antiques for the Elkhorn (WI) Antique Flea Market, and our last outdoor market of the season.

Grin: That leaves me to do the heavy lifting and the struggle to get it all in our vans. I think we need a semi for next year.

Pick: You are always semi-thinking.

Grin: I guess our van is about the right size for the shows we do. It’s just too small when we have a double booth.

Pick: If our winter indoor sales follow the trend we may need a bigger truck for next year. I have been pleased with the increased interest and our sales of antiques at this year’s markets.

Grin: Leaving the collector figurines and plates in storage along with the glassware that sold well in the past has helped. When that market returns, we’ll be prepared for those sales!

Pick: We have been doing very well with primitives and decorative metal antiques.

Grin: You think of every piece of rusty metal as “Man Cave Art.” Much of that is too heavy to even hang on a wall. And guess who has to load and unload every fifty pound stove or machine part? Let’s stop calling me the mule.

Pick: Well, I can think of another name for mule, but you don’t like that one either! As far as rusty stuff goes, it’s selling. And the addition to our mix has greatly helped sales. Most of our friends in the business, flea market sellers and antique store owners, all agree the bottom was hit and the climb back to normal is steep but manageable. It reflects what we saw this year and gives hope to an even better year to come.

Grin: Let’s have a toast to a great upcoming season!

Pick: I don’t think it would be wise to give me a “toasting drink” while I am still loading it up!

Shake, Rattle, & Roly Poly

These are a few of the vintage baby rattles we have in the case at Exit 55 Antiques. Normally, I am afraid of clowns (one did try to assassinate me once — and that’s all it takes); but somehow a roly poly clown is not so scary. By the way, I also find the fact that such round-bottomed toys are called “roly poly” toys absolutely adorable! But it’s the celluloid (or other vintage thin plastic) angel which is my favorite. Isn’t that chubby little cherub sweet?!

Eureka Noiseless Talking Machine Lubricant

I think this vintage tin I spotted this weekend is completely $8 worth of fun — even if you’re not a record collector!

Manufactured by Ilsley-Doubleday & Co. of New York, this is “the perfect lubricant for all makes and styles of phonographs and talking machines.”

See also this Zeen with a collection of some of the articles on records, record collecting, and turntables that my husband and I have written.

13 Thoughts On Collecting

I meet a lot of interesting collectors, who also just happen to be as interesting and unique as their collections, and I thought perhaps you’d like to get to hear their thoughts on collecting.

What do you collect — and what is the most common reply you hear when you tell people about your collection? (Yes, blank stares and laughs are acceptable replies!)

Collin David: (From Collectors Quest.)

#1 Among other things: I primarily collect Batman stuff and action figures of all kinds. Secondary (but still scary) collections include vinyl records, art, robots, squid, DVDs and videos, trade paperback comics, Legos, gaming miniatures, trading cards, all kinds of books, scrap pieces of plastic, wood, metal and beyond, instruments. I’m actually slimming down a bit due to space concerns. And when I say ‘concerns’, I mean ‘am I going to be crushed in the night?’

Shelley Brice-Boyle: (Is also known as sweet*cherry*pops, the delightful seller behind Sweet Cherry Vintage Lingerie.)

#2 I collect and wear vintage lingerie, and totally passionate about it. I collect everything from bras, panties, slips, negligee’s and peignoir sets, anything from the 1930’s to the 1980’s. I not only sell it, I wear it, live it, dream it! When I tell people I collect vintage lingerie, they look at me with an expression of “Huh?” and “Why?”

Marty Weil: (The award-winning journalist, SEO content strategist, and editor/publisher of ephemera, a blog that explores the world of old paper.)

#3 For the most part, people have not heard of ephemera, but when I tell them it’s old paper, they perk up. There are a lot of people who collect old paper, but they don’t know it. They have drawers full of vernacular photographs or old menus or postcards. All of these things are considered ephemera, and once people realize the scope of it, they can see that it touches just about everyone.

Angela: (She owns Dorothea’s Closet, a virtual and real-world vintage clothing shop.)

#4 Satin boudoir slippers from the 50’s and older (primarily older, and I am most interested in Daniel Green pieces, but look for Oomphies as well as a few other labels). Advertisements and other paraphernalia as well. Typically people don’t even know what they are as the art of glamorous lounging is no longer practiced, sadly. I don’t collect fuzzy old lady slippers, these boudoir slippers are shoes meant to be worn indoors but meant to be seen…worn with silk and satin hostess gowns when entertaining at home.

Mary Ann Cade: (The lady featured interviewed here and here.)

#5 I collect many different kinds of things. I collecting movie and television props, and have a huge prop jewelry collection. I collect Henry VIII items and I collect things that I remember from childhood, dolls I had as a child, movies, television shows, etc., as well as silent films. Many of my things fascinate people but I do get those stares from people that question if I am eccentric or just a nut.

What two characteristics or personal traits you feel are essential to being a collector?

# 6 Mary Ann: I feel that you need to be collecting things you are interested in, not collecting items that everyone else is collecting, just to be part of a group. Dedication to collecting is important without going overboard or crazy about it. The best part of collecting something is getting the item for a bargain and not letting your heart rule your head.

(She’ll have to teach me how to do that!)

# 7 Collin: I wanted to say ‘disposable income’, but then I recalled my growing collections of feathers and dead bugs and scrap metal and wood and how gloriously free they were. I think that a collector needs to have a desire to hunt – not even acquire, just the excitement of discovery of something rare or unusual within a set theme.

A second characteristic would have to be the ability to organize and stay organized, because collecting takes up space. Being able to understand and monitor that space is essential to a successful collection.

(OK, I’m going to have to debate him on this one day; “organization” is not one of the strong-suits ’round here…)

# 8 Shelley: I feel you are a collector if you are very passionate about something. You see it, you get butterflies in your tummy. You see it, you have to have it. You see it, it’s your’s. You see it, and you want more and more of it.

(That’s more like me — let’s just hope Shelley & I won’t ever be vying for the same bit of vintage lingerie!)

# 9 Marty: It’s funny that you ask… I’ve actually done some research on this subject, and I wrote an article called the Highly Effective Habits of Collectors. The seven traits I identified, based on interview with dozens and dozens of collectors, were patience, persistence, scholarship, understanding, preserveration, Internet savvy, and fraternity with other collectors.

Did you ever get an item for your collection so cheaply that you felt like a thief? Ever stumble into such a great find that your fingers shook when you picked it up?

# 10 Angela: Bright lipstick red satin wedges with black deco piping and braided buttons on the vamp, 40s, in mint condition as well (and my size!). I had been hunting them for years but only found them on high end sites at prices out of my range. These I spotted at a antique fair in the streets of a local neighborhood and the woman selling them looked at me as I picked them up and said, “Those are so pretty, but you know they’re not vintage.” Pretty? Absolutely. Not vintage? Only if you don’t consider something vintage unless its 75 years old!! It’s likely the flawless condition that threw her off. But lucky me! They were TEN dollars!

As a collector, what is one thing you cannot live without? (Not the objects/items themselves, but other things related to collecting, such as ‘space’, ‘acid free paper’, ‘eBay’ etc.)

#11 Marty: The Internet.

#12 Shelley: Estate sales and clothing racks.

#13 Collin: I’d like to think that I’m entering a place where I don’t ‘need’ anything. In my current state, I do need space like crazy. If I had to stop collecting? It would be a really bad shell-shock, but I think I’d live and throw myself immediately into something else. Like a freeway.

Talking Records & Record Collection With Tom Casetta

For over a decade now, when I’ve had a question about records, bands, music history, or just want to discover something cool to listen to, I contact Tom Casetta. This is a continuation of my interview with my music guru.

Tom, you mention the “whole packaging” aspect of vinyl; let’s talk about records as objects… I remember in 7th grade, my art teacher having us design record albums. The lesson was more than the fab art, but the concept of the package. Back then, albums were like books, with each track a chapter in the story; now with MP3s etc, more than a bit of that is lost in terms of the artist telling the story. Yeah, we all tried our own hand at making our own stories with mixed tapes too. (Which ties in quite a bit with the “new” concepts of curation and playlists.) But there is something about the whole package from the artist — even if that includes Management & Marketing. lol

Can you share an example of why certain objects in collection cannot be replaced, i.e.why a digital audio file cannot replace a record album?

Frank Zappa Mothers Of Invention Freak Out album cover — Frank Zappa Mothers Of Invention Freak Out Album Cover

Sure, take Freak Out by The Mothers of Invention for example. Frank Zappa thanks a number of people in the liner notes as influences and it is like a map to understanding the music of Zappa and, for me personally, it opened and blurred all these doors or genre. I was exposed to all these 20th Century composers, jazz and folk people… The record album was also two sides. And that is lost if you aren’t playing the LPs. That two-part thing acted like a chapter of sorts. It really makes certain records what they are. The killer opening track on side two doesn’t have that same effect when heard right after the last song on side one without the pause to flip the record.

You have (at least) a whopping 8,000 records — I guess that’s why you have a radio show! Can you tell me the story of your radio show? Was it inspired by your collection — or just a way to rationalize it?

I am currently doing a weekly radio program on the Internet radio station G-Town Radio called Listen Up!. Each week, I guide you through a labyrinth of music shining a beacon on the unsung, should-be-sung, and will-be-sung recordings that clutter the maze’s dusty corridors. The station is based in a Philadelphia neighborhood called Germantown and it offers diverse programming originating from this community in Philadelphia that can be shared through the wide range of the Internet.

The Listen Up! show in some ways does rationalize my record collection as it serves as the library for much of the source material of the show. I love sharing these recordings with the public and exposing them to music perhaps they may not have heard of before. I want to share that excitement, infusing my personality into the show. It’s pretty much you, the listener, hanging out in my music library for two hours.

As a DJ, how liberating is today’s digital world?

I don’t see it that much different. I still approach my shows the same way as before.

Does the digital age come with a cost do you think?

The loss of the record shop as a means to find and discover music is probably the key loss, but there is always a need for gatekeepers to help steer one through the clutter. I also think not being able to see ones music collection on display is sad as those and the books on your book shelves say volumes about who you are to me. If I go to someone’s home and don’t see any books and/or music anywhere. I ask myself, what do you do? What do you talk about? What makes you you?

A Trip To Hippie Tom’s

In May, I went with my parents to an open house at Hippie Tom‘s farm. (If you don’t completely recall the name or recognize him, Hippie Tom is a fan favorite on American Pickers.)

Walking about Tom’s farm is phenomenal. There’s almost too much to take in!

Along with the incredible vintage and antique pieces, mostly organized by theme (sometimes obvious, sometimes personal — enough to inspire by itself!), there are many repurposed and recycled pieces and project ideas to be seen.

My favorite building was the church. The photo doesn’t do the scene justice… The church sits down in a little valley, like it opens up before you, yet somehow in the distance… Inside there was a mix of religious items and a few oddball works of art which showed a sense of humor.

Then again, Hippie Tom’s joie de vivre and humor are exposed everywhere!

Hippie Tom is clearly a fan of collecting shows; this vintage stroller had a paper label with “as seen on American Restoration” on it!

Among the items I purchased at Hippie Tom’s was this antique pelican weather vane. (Something I sniffled about selling last weekend!)

Hippie Tom’s place is called Serendipity Farm — and I also bought one of the old Serendipity Farm signs which Hippie Tom happily signed for me!

That autographed sign is not ever going to be up for sale! But if you want something from Hippie Tom and can’t get to his place or a sale he’s at, check out the merchandise at his website.

She’s A ‘Lil Bit Country; He’s A ‘Lil Bit Rock & Roll

I’ve never scored a storage unit at auction, but over the holiday weekend, at Maxwell Street Days in Cedarburg, Wisconsin, I met a guy who did. He ended up buying a storage unit that had once belonged to Western Publishing, and in it was the sweet stuff of a 1970s childhood… Among the items I purchased from him these great Donny & Marie show collectibles, each copyright 1977, Osbro Productions Inc.

Donny and Marie: The Top Secret Project, by Laura French, illustrated by Jan Neely, a Little Golden Book (number 160).

Donny and Marie: The State Fair Mystery, a Whitman Tell-A-Tale Book (number 2635), story by Eileen Daly, pictures by Olindo Giacomini.

Donny & Marie, a Whitman coloring book or “color book” (number 1641) with paper dolls to cut-out on the back. Inside, there are pages of clothes to color and then put on the paper-doll Donny and Marie.

Donny & Marie, a sticker book, Whitman number 2188. There are photos on the cover, but inside, the stickers and pages you stick them on are illustrations.

Two Whitman Frame-Tray Puzzles (B4542-1 and B4542-2), each with a different photo of Donny and Marie Osmond. Each in its original factory-sealed plastic covering.

Each item is new, never used, as minty-fresh as you’d find on store shelves back in the day! I’m saving one of each for my collection, and selling some too — to bring joy to others.

(Another) Back To School Primer On Collecting Vintage Children’s School Books

It’s that time of year again, when children head back to school. While parents feel that special mixture of worry and relief, many children head back to school with a groan. But school must not be all that bad — or why else would so many adults collect vintage school books?

Of course, like any collection, a collector may begin collecting the books they had as a child but find themselves adding editions that came before (and after) the versions they were assigned… Adding more books by the same author, publisher, illustrator… And there are other books besides primers and reading books. Every school subject had its texts. There are books on geography, math, science, sociology — even text books for adult learners on accounting, typing, welding, etc. Every one of those niches has its collectors, whether they are collecting to preserve memories or the history of an occupation or industry. Literally not sticking to the subject is one way to amass great shelves full of old school books.

Some collectors primarily collect, or begin collecting, the old children’s school books for the illustrations, photographs, and images inside. For many collectors, it is the pretty pictures which they fondly remember and seek. As many illustrators of children’s books had prominent careers, with their works seen outside of school walls (and homework at the kitchen table), some collectors end up with vintage readers etc. simply collecting the careers of their favorite illustrators. Others just find old images fascinating; after all, old pictures are still worth a thousand historical (and sometime hysterical) words.

As you can see from the history of Dick and Jane books, there’s more then mere nostalgia involved in collecting antique and vintage school books. Not in spite of — but because of — old or outdated information, assumptions, and omissions old school books document the history of educational movements and culture in general.

Of course, primers existed long before Dick and Jane, or even the two Williams (Gray and Elson) themselves. The history of primers, of literacy itself, has links to the history of the Bible and the Reformation. FromThe English Primers, 1529-1545, by Charles C. Butterworth:

The name itself was given by the people of England, as early as the fourteenth century, to what was known in Latin as the Book of Hours of the Blessed Virgin Mary. Compiled from materials used in church and monastery, the Primer was intended specially for the laity, to guide the devout layman in his private daily devotions or to help him bear his part in the services of the Church.

…It is supposed by some that the name Primer was derived from Prime, the first of the Hours. But most authorities believe that from the start the name was applied to what was naturally regarded in many households as their first book (liber primarius), either because it was in such constant service or, more likely, because it was useful in learning to read, especially in Latin. No evidence at hand is of sufficient antiquity to settle the question.

As time passed, we can thank (or blame) primers and their instruction of children and adults for the loss of Latin as a primary language and for the empowerment of the everyday person in general. These old school books educate us about more than issues and movements of religion, slavery, city life in an Industrial Age, prohibition, etc., but about the treatment of the people living through them. Depictions, descriptions, and even omissions tell the story of how we once treated women, children, the physically and mentally handicapped, the aging, native peoples, the poor, and even wealthy white men. Through these old educational books, we see the the documented history of how people were treated — and just when society demanded that we treat them better. These books are the documentation of our societal values, of our tolerance and intolerance.

Along with nostalgic collectors, scholars, and historians, many parents today are buying vintage school books and primers to use with homeschooling and helping assist their children with learning. (Since the way we instruct our children in the classroom has changed over the years, some older books are actually sought for teaching those with special needs; it’s another way to try to reach and teach.) This increases the competition for primers, readers, math books, and other books for which the information is not dated.

When selecting a book to add to your collection, condition is always an issue. Children’s books always have condition issues. Along with underlined text, attempts to solve problems, and the doodles of a bored or distracted student, many primers and texts were passed down to the next child in the family or to new students at the start of a new year. Passing through so many hands means more wear and tear. Along with more smudges, dog-eared pages, rubbed corners, and even notes from one child to the next child assigned the book, there’s the greater likelihood of torn and missing pages, fatigued or spent bindings, and lost covers. School copies, even teacher editions, will have stamps and official markings; though typically less than library copies.

Expecting antique or even vintage primers, readers, and other school books to be pristine or collectible-conditions clean is unrealistic. I’m not saying finding such a copy is impossible, but given the fact that these old texts were often tossed out for being obsolete, it’s amazing we have any around at all. Suffice it to say, the prettier the book, the prettier the pennies you’ll pay for it.

For some of us, signs of use are part of the charm. Not just the doodles, or notes which tell you of the previous owners, but even covers rubbed bare and split signs are signs one can compare to a well-loved stuffed animal. Like the Velveteen Rabbit, books can become real with love.

PS All the images here are from books I will be selling, either at eBay at our yard sale this weekend.

A Back To School Primer On Collecting Vintage Dick & Jane Books

Dick and Jane books are among the most popularly collected school books. This is because the series of books was used for over 40 years in American schools. That’s millions of children who were taught by Dick, Jane, Sally, Pam, Penny, Mike, their neighbors, families, and pets! Here’s a bit of history on the vintage Dick and Jane series of books.

In the late 1920s, Zerna Addis Sharp sought out William S. Gray, a renowned educational psychologist and reading authority from the University of Chicago, and pitched to him her philosophy that children are more receptive to reading if the books contained illustrations related to them and their lives. Gray was impressed enough to hire Sharp. While illustrations of the family Sharp created were published in earlier versions of primers by Scott, Foresman and Company, it wasn’t until later that Dick and Jane would appear by name.

In 1930, Gray and William H. Elson, along with May Hill Arbuthnot, created the Curriculum Foundation Series of books for Scott, Foresman and Company. Here Dick & Jane and their family appeared in the first edition of the Curriculum Foundation Series pre-primer called Elson Basic Readers. In this edition, the baby sister was not named yet (she was simply called “Baby”), the cat was called “Little Mew”, and Spot, the dog, was a terrier.

In 1934, the pre-primer was renamed Dick and Jane and a second book, also a pre-primer, More Dick and Jane Stories, was added. In 1936, the series title changed to Elson-Gray Basic Readers to acknowledge Gray’s role in the series (Sharp was not acknowledged, despite what would be a 30 year career at Scott, Foresman & Company). Eleanor Campbell and Keith Ward did the illustrations, and Marion Monroe also authored some of these early editions of the Dick and Jane books.

Scott, Foresman and Co. retired the Elson-Gray series in 1940, but Dick and Jane remained in the Basic Readers and their Think-and-Do workbooks. Now the baby sister is named Sally — and she gets a teddy bear named Tim, the cat becomes Puff, and Spot becomes a Cocker Spaniel. New books in the series were introduced in 1940 and 1946. In Canada, English and French versions of the Dick and Jane books were translated and published by W.J. Gage & Co., Limited; and British English versions were published by Wheaton in Exidir in the UK. Official Catholic editions of the series, the Cathedral Basic Readers, were created to teach religious themes along with reading. For example, Sally, Dick, and Jane was retitled Judy, John, and Jean to reflect Catholic Saints and to include stories on morality. In the 1946 edition, Tim the teddy was removed and a toy duck was added. Also, Texas had its own editions of the the books in 1946. Another author, A. Sterl Artley, began writing Dick and Jane books in 1947. By the end of the 1940s, the Collection Cathedral was published for French-Canadian Catholics.

By the 1950’s, over 80% of first-graders in the United States were learning to read with Dick and Jane. New editions whose titles began with “The New” were added, and Robert Childress would become the illustrator. But it was during this decade that Dick and Jane et al. would find themselves under strong attack. Concerned groups criticized everything from misrepresentations of perfection and other cultural issues to matters of literacy itself. In 1955’s Why Johnny Can’t Read, Rudolf Flesch blamed the look-say style of Dick and Jane readers for not properly teaching children how to read or appreciate literature. While phonetics were always a part of the Dick and Jane series, there was not enough for the growing movement of phonics fans. For all of these reasons, most of the major changes to the Dick and Jane series occurred in the 1960s.

In 1962, Helen M. Robinson was the new head author, the books had new material (including more phonics), new illustrations by Richard Wiley, and Dick and Jane had matured, in age and sophisticated. The initial printings of the 1962 soft-cover Dick and Jane books increased in page size and did not have the white tape reinforcement on the spine. The covers of these editions fell off rather easily — which is why they are so hard to find with covers intact. As a result, Scott, Foresman and Company added the reinforced taped spines and advertised the feature heavily. (These books were never issued as hardcovers; any hardcover copies were either library bindings or were rebound later.)

But in 1965, both Civil Rights school integration and President Lyndon B. Johnson’s Elementary and Secondary Education Act would continue to challenge the book publisher.

Scott, Foresman and Company worked to address the school integration and inclusion issues by once again employing Zerna Sharp’s literacy philosophy. The African-American family, including twins Pam and Penny and their brother Mike, first appeared in the 1964 Catholic School books; public school students were introduced to the African-American family in 1965. (In response to outrage from racist complaints, Scott, Foresman & Company offered alternative covers of the 1965 integrated books; these Child Art editions removed the characters from the covers and replaced them with finger-paint art designs. Later editions of Think and Do books just had solid color blocks.) Also in 1965, the Pacific Press Publishing Association published an integrated version of Fun With Dick and Jane for Seventh-day Adventists. Entitled Friends We Know, Jesus appears on the covers along with Dick, Jane and Mike.

In the mid 1960s, Scott, Foresman and Company tried to address the phonics issue by introducing books in an experimental language called Initial Teaching Alphabet or ITA. The Experimental Edition of the Scott-Foresman pre-primer was titled Nou Wee Reed. These ITA Dick and Jane books are rare finds.

In the late 1960s, the Dick and Jane books expanded to include three new series based on academic performance. For those performing below grade level, there was Open Highways. (Original printings of these books had “The Open Highways Readers” printed on the spine; later printings just had “Open Highways”.) For strong readers, Scott, Foresman and Company added Wide Horizons, self-directed readers which did not have workbooks, and for even more advanced or gifted readers, there was also Bright Horizons. Reading Inventory tests were added to the Dick and Jane series to use as a placement guide.

Despite all Scott, Foresman and Co. tried to do, the book publisher just couldn’t overcome all the objections, especially those regarding the too-perfect Dick and Jane world. The goody-goody kids and their ideal gender stereotyped simplicity was no longer relatable or desirable. The series was officially ended in the late 1960s, replaced in 1970 with Scott, Foresman Reading Systems. (However, in 1975, the 1962 pre-primer was republished by the American Printing House for the Blind in a large type edition with black and white images for sight-impaired children.) Still, Dick and Jane books continued to be ordered and sold from warehouse stock well into the 1970s.

The books Dick and Jane collectors are searching for today are those which managed to be saved — and held onto — by teachers, staff, and students, despite the fact that many schools were even ordered to destroy all remaining copies of works in the series. For these reasons, along with the usual wear and tear of children’s books, finding vintage Dick and Jane books in pristine conditions is very difficult. Collectors learn to live with writings, doodles and marks, missing pages, etc. — or pay steep prices for not having signs of use.

Over the decades, many Dick and Jane materials were produced. Along with the readers and primers mentioned, there were other subject books, such as art, health, math, etc. There were teacher editions; books on teaching techniques; large display books placed on easels, called Our Big Book; posters and picture cut-outs for classroom display; picture and word flash cards; LP record albums; games for the classroom; and other teaching aids.

On the business end, Scott, Foresman and Co. sent out catalogs, newsletters, and promotional items, such as calendars, greeting cards, and Christmas ornaments. These items were produced in much smaller quantities and, being ephemeral in nature, are rare finds.

But Dick and Jane live on.

In 1977, George Segal and Jane Fonda would star in Fun with Dick and Jane, a film based on a Gerald Gaiser story about the failed promises of a Dick and Jane perfect world. (The film was remade with Jim Carrey and Tea Leoni in 2005.)

In 2003, Grosset & Dunlap rereleased original Dick and Jane primers, selling over 2.5 million copies in just over a year even with a publisher disclaimer that the books were nostalgic and not to be used to teach children to read. Due to the popularity of the reissue, reproductions and new related merchandise featuring the iconic imagery and catch phrases, like “See Spot run!”, has been produced.

Additional Resources:

A rather complete list of original Dick and Jane books is here.

Carole Kismaric’s Growing Up with Dick and Jane: Learning and Living the American Dream captures the nostalgia while tracing the cultural points of the Dick and Jane series.

Image Credits:
(In order they appear)

Our Big Book, Dick and Jane Teacher’s Classroom Edition, via into_vintage.

First Dick and Jane book, the 1930 Elson Basic reader, via Tiny Town Books & Toys.

Set of 11 vintage Dick and Jane readers from the 1940s and set of 13 readers from the 1950s, via Wahoos House.

The 1963 Judy, John And Jean New Cathedral Basic Reader, via Keller Books.

Set of 13 books from 1960s, via Wahoos House.

A set of 1930s Dick and Jane flashcards, via Wahoos House; vintage Dick and Jane Blackout Game, circa 1950s, and 1951 Poetry Time three-record Dick and Jane set, narrated in the voice of May Hill Arbuthnot one of the original Dick and Jane authors, via Tiny Town Books & Toys.

The 1954 Scott, Foresman and Company Dick and Jane sales catalog, via Tiny Town Books & Toys.

Do You Believe in Haunted Toys?

I’ve read about haunted toys, as a concept, before. Each time I just think – how gullible are these people? How badly do they want to believe in ghosts, spirits and hauntings? I don’t believe you see, not to the point of overlooking common sense.

I do think there are ghosts, of some sort. Feelings and emotions left over from the past. Turbulence doesn’t just disappear because the cause of the disturbance has gone. It’s like having a huge fight with someone. You can feel it in the atmosphere.

But, I don’t think that’s all there is to the ghost thing. I don’t know exactly what I do believe. I haven’t quite pinned it down into so many little words. My Grandmother did see ghosts, her sister and her husband both appeared to her soon after they were gone. Gone in a permanent way, not just out of the room or out of town. Seeing ghosts scared her. Me too. I don’t trust them all to be benevolent or casual or just want to come over for tea and a chat. So, like my Grandmother before me, I picked a day and spoke out loud and told everything (whatever everything is) that I don’t want to see ghosts. My Grandmother was told to do this by a psychic and she said it worked for her. She stopped seeing anything once she clearly said she did not want to see anything, of that sort.

Anyway, the idea of haunted toys annoys me. Why take something simple and kind of innocent and turn it into something frightening?

When I watch the ghost hunting shows I can see through almost everything they do. I understand the difficulties with proving the existence of ghosts when others are watching and the people filming can’t show they really didn’t cause the camera to shake or prove they really do feel a cold air pocket. But, it seems to look so phony I just can’t take it very seriously. It seems scripted, pre-planned.

So I don’t believe in haunted toys. I don’t believe children who have died would hang around an old toy and try to harm people or scare them with it. Children aren’t like that, except in movies.

One good thing about the haunted toy thing, it’s a great way to bump up the value of vintage toys. If you can show the toy as haunted… the interest in having the toy (even if just to prove or disprove the ghostly haunting) will help to sell it and sell it for a bigger price. Which just throws more doubt on the concept of haunted toys.

What do you believe? Have you had a haunted toy? Has an old doll given you the creeps? Do toys mysteriously move when you know no one and nothing is logically making them move?

I have felt creeped out by an old doll. I admit. But, I’m sure it was just my own doing. I let myself feel that way. It was based on nothing, just a suggestion by someone else. But, I can remember the feeling. I didn’t like it.

One interesting side note… the haunted toys all seem to be dolls. Co-incedence? Not likely.

Robert, the Haunted Doll

Haunted Toys and Dolls

Haunted Doll Stories

Flickr: Creepy Dolls

Misbehaving Toys and People

Annabelle: The Haunted Doll

David’s Haunted Dolls

Haunted America Tours: Real Haunted Doll Gallery

Haunted Dolls.net

YouTube: Scary Doll

Collectors Are Like Artists; Collections Like Works Of Art

Combining my usual theme of collectors being curators, just like museum curators, with digital or online curation comes this story of New York collector Peter J. Cohen. Cohen snapped up vintage and antique snapshots of women — among other things. Over the course of decades, Cohen amassed some 20,000 photographs taken by amateurs. This particular collection contains 500 portraits of women.

The photographs, taken in the US between 1900 and 1970, each contain three females. Once the collection lived in a box labeled “Women in Groups of Three” in Cohen’s living room; but now the collection is called The Three Graces and it’s part of The Art Institute of Chicago’s collection.

The collection was shown at The Art Institute of Chicago last fall — but as Cohen donated the collection to the museum, they remain at the AIC which has promised to keep the collection together as an historical depiction of 20th century women in America. The AIC’s graciously put up an online gallery of the collection for you to look at, and put out a lovely hardcover book too: The Three Graces: Snapshots of Twentieth-Century Women.

I love how Cohen’s friend, Stephanie Terelak, captures the essence of photograph collection:

The lines of collector, curator, and artist are blurred in this case. Individually, these photographs are worth very little, probably a few dollars on ebay I would guess. But amassed, sorted, and curated in large specific groups, seemingly worthless stuff on ebay becomes art and the collector becomes artist, selecting each piece to belong to a greater whole that our best museums’ curators deemed worthy of their walls.

This can nearly be said of any collection. Collections are works of art, like collages or mixed media projects — or bonsai trees. Often continuously in process, collections are nearly alive with the story narrated by each individual collector’s act of collecting. Each curates — feeds and prunes — for meaning and growth as well as with an artistic eye, to tell stories with objects.

Museum desired collection or not, this is why I love collecting. Not just personally, but professionally too. I love connecting people with the items, objects, and stories they need to complete their collection — or at least assist them in their artistic process.

Vintage Illustrated Lingerie Boxes

Just a few examples of vintage lingerie packaging with great graphics seen recently on eBay. Lingerie blogger, A Slip Of A Girl, has written a post about why she collects vintage lingerie illustrations.

Image Credits:

Vintage Glamorise bra box via 54closet.

Vintage Jantzen girdle box via klamms3.

Vintage Cleopatra Goddess long-line bra via crazygregs.

The Early Gay Fad Years Provide Clues For Glassware Collectors

Always wanting to learn more, I contacted Kitty Hanson of the Santa Fe Trading Post about my suspected Gay Fad juice set.

Miss Kitty, as she is most known, is co-author of the new and incredibly, exhaustively, researched two-volume encyclopedia set about Fran Taylor and Gay Fad Studios, Gay Fad: Fran Taylor’s Extraordinary Legacy. She was gracious enough to write back with a great deal of information:

Hi Deanna,

I went to your site and enjoyed the article and photo of your Anchor Hocking juice set with the hand-painted oranges. My opinion is that you may well have an early Gay Fad orange design, but that’s going to be difficult to definitively prove. However, I can add a few more clues.

We know for sure that Fran often painted her GF designs on Anchor Hocking blanks, and I, too, have found what seems to be authoritative information that AH’s Manhattan pattern was produced from 1938-1943. So if your set is by Gay Fad, that would mean that Fran produced it in Detroit before moving Gay Fad Studios to Lancaster, OH in 1945. As we say in “The Fran Taylor Story” chapter of our book (page 5, volume 1), we have yet to discover a newspaper article about Fran or Gay Fad or a Gay Fad ad dated prior to 1945. But we do know that all of her Detroit work was done with “cold painting” because she didn’t have the ceramic paints or equipment necessary to do fired designs until moving to Lancaster and installing a lehr in her new production facility. Obviously your set is “cold painted” and that accounts for the flaking paint on your juice set.

Interestingly enough, Red Burn (Fran’s first husband and GF vice president) wrote an article for the July, 1949 issue of Crockery and Glass Journal where he explained the difference between cold painting and fired painting and the fact that cold painting has durability issues. That article is reproduced in the “Gay Fad Articles” chapter (page 180, Volume 2).

We also know that Gay Fad produced a variety of Orange designs over the years, and we show pictures of 10 of them in the “Gay Fad Designs – Identified” chapter (page 103 of Volume 1). Our earliest example is from a GF ad in the February, 1947 edition of Crockery & Glass Journal.

Your design is different from any of the ones we show, but again, we have only three pre-1945 examples of Fran’s work: a Rose design lamp she gave to her brother as a wedding present in 1941 (page 4, volume 1), a Fruit design recipe box she gave to his wife during the early 40’s (page 5, volume 1), and one of the wastebaskets that “started it all” (page 3, volume 1) cut from a photo in the “Beauty and the Baskets” article in the June, 1947 edition of American Magazine (full article on page 169, volume 2).

Another reason why I think your orange design is probably an early GF piece is because of the squiggly stem on the bottom of the orange on your carafe. The fruits (apple, pear, grapes) on Fran’s early 40’s recipe box clearly have squiggly stems, as do many of GF’s various fruit designs, including some of the various Orange designs.

In addition, several of the GF Orange designs are painted in orange and yellow similar to yours. Donna has a similarly-shaped carafe/pitcher (NOT the ribbed Manhattan pattern) with a double orange design in orange and yellow, plus a squiggly bottom stem (page 103, volume 1), all of which looks very much like your single orange.

So again, my opinion is that your set may well be an early Gay Fad orange design, but that’s going to be almost impossible to prove – at least at this point in time.

Hope this helps!

Best wishes,
Miss Kitty

This information is exciting!

I was pretty sure the vintage glass was cold-painted, but honestly, the texture and flakes had me confused… All the cold-paint pieces I have are vintage ceramic pieces, and there the paint appears more “slipped off” and not something that you can feel like you can on this set. (But then again, who knows how it was taken care of? An idiot putting the vintage glassware in a dishwasher back in the 1980s?! I’ve seen damages from dumber things.) I didn’t think the art glass was decorated with decals; there’s no film or lines surrounding the fruits and leaves; and you can see paint strokes and layers, especially behind the clear glass. But there are transfer processes too… Glassware can be so confusing!

But Miss Kitty’s information makes sense. The dates of the vintage Depression glass coincide with Fran Taylor and Gay Fad’s early years during which the cold painting was done. Likely there was some experimentation with different paints and processes. Conditions, like on this set, will be an issue. But I’m rather charmed by signs of use and the notion of a woman starting her business.

I don’t really collect glass. Partly because of the confusion about the different process involved; partly because glassware doesn’t speak to me. However, there’s something about Gay Fad Studio’s designs, and, especially, Fran Taylor herself that speaks to me… I do also have a ballerina shaker that I’ve since come to believe was a Gay Fad Studios piece too. So maybe I’ll have to pluck this vintage juice set out of the case and just accept the fact that I’m now collecting Gay Fad glassware. I don’t think I’ll be able to stop myself from looking for her early pieces anyway. *wink*

Now, about the Gay Fad books by Miss Kitty and Gay Fad collector Donna McGrady…

I want them in the worst way. The price of the two-volume set (a total of 610 pages, 1,549 photographs, and 745 scans) is $149.95 (buying both together saves you 25% off list price and gets you free priority shipping to anywhere in the USA). That’s pricey; but this information isn’t anywhere else (she softly whined). So it’s on my wishlist. If you care to gift me the books, or donate towards them, just let me know. *wink*

What Is Mid-Century Modern?

If you’ve spent any time talking with other collectors, antiquers, dealers, or folks who just enjoy watching the plethora of collecting shows, you’ve been hearing an increase in the term “mid-century modern.” Loosely applied, the term can mean anything made in the middle of the last, or 20th, century, usually 1940-1960. But more aptly, the term applies to a design aesthetic which embraces the marriage between function and form — with a simplicity of style born of the artistic and cultural movement of Modernism. And because of the “modern” in “mid-century modern”, the style dates back much further than the name implies.

Modernism is more than just an artistic style; it’s a cultural movement. The movement’s origins go far back as the 1880s, to Germany before the first World War. Despite, or perhaps because of, the prevailing conservatism, there was an increased interest in what the Germans considered the very American notion of usefulness — or, as Dennis Crockett phrased it in his book, German Post-Expressionism: The Art of the Great Disorder 1918-1924, the “predilection for functional work.”

This philosophy, called Neues Bauen or New Objectivity, was first or most notably employed in addressing the German housing crisis of the time. The physical design application of New Objectivity resulted in design innovations in architecture, in which the commercial need for cost-effective housing was met with a radically simplified yet dynamic functionalism, offering simplicity, health, and beauty for the occupants. This solidified the notion that mass-production was indeed reconcilable with individual artistic spirit — it meant affordability — and it was something the famous Bauhaus would build upon when it was founded by Walter Gropius in 1919.

Widely acknowledged as the the first academy for design in the world, the Bauhaus manifesto includes the declaration “to create a new unity of crafts, art and technology.” It was here students and artists would focus on the craftsmanship and the manufacture of works in a collaborative setting, “to produce a work that is not limited to its purely aesthetic meaning, but supports and even influences the transformation of social reality and thus shapes a new society.” And at this time, the transformation desired was a modern one of simplicity and functionality. (For more on the Bauhaus movement and the artists themselves, I highly recommend a book I’ve been reading The Bauhaus Group: Six Masters of Modernism, by Nicholas Fox Weber. It’s fascinating!) Here is where mid-century modern truly begins.

Because the Bauhaus produced more than a mere decorative style, because it pushed the values and needs of a modern world, the school, the artists, and the works created would inspire many others throughout the (mainly Western) world. Spurred on by urban living and the rapid development of plastics and other materials, mid-century modernism became quite popular.

Some of the most known — and collected names — in what we now call mid-century modern, were influenced by the Bauhaus and the movement. They include Americans Ray and Charles Eames (who made fabulous toys too!); Brits Robin Day and his wife Lucienne, and Ernest Race; the Japanese designer and sculptor Isamu Noguchi; and Scandinavians Børge Mogensen, Arne Jacobsen, Finn Juhl (PDF), and Hans Wegner. (Because of the latter design giants, mid-century modern overlaps with, and is often confused for, Scandinavian or Danish design. Here the date of creation and manufacture help make the final decision.)

Here’s a photo of mid-century modern designers George Nelson, Edward Wormley, Eero Saainen (who died not long after this photo was taken), Harry Bertoia, Charles Eames, and Jens Risom for an article in Playboy, July 1961.

Furniture wasn’t the only thing affected by mid-century modernist design. Other functional household objects, such as clocks, radios, and lamps (this was the start of lava lamps!) were made — and are heavily collected today.

Housewares, kitchenalia, and decorative items also got the mid-century modern treatment. You’ll see lots of geometric yet sleek pottery and glassware with embossed patterns and lines of the mid-century mod design. While there still were the more traditional shapes and forms, some with more elaborate and fancy painted designs, made during this time too (Hey, not everyone hops on the trends!), the mid-century modern look is most readily identified by its design simplicity. The decorations seem to better fit the form and function of the piece. Look for pieces in solid colors with embossed designs which seem to flow along the lines of the piece rather than appear applied to it. And remember, one of the primary influences of the movement was purposefulness; meaning the design is wed to an item of purpose and function. When it comes to pieces of decorative turquoise California pottery, for example, there’s less usefulness and practicality than there is with a chair, lamp, or piece of refrigerator glass… However, the style is often represented in these pieces more decorative than functional items and collectors do like them.

Mid-century modern as a category of collecting dates from the 1930s through the mid-1960s. Because of the dates involved, mid-century modern overlaps, influences, and to some degree encapsulates designs from the Atomic Era, Space Age and Googie design, California Modernism, etc. These innovative and popular designs of the 20th century not only pioneered modern furniture and industrial design, but are now the iconic pieces we think of when we think of these decades.

Truly defining or identifying mid-century modern pieces may be difficult; but like Justice Potter said of pornography, you’ll know it when you see it.

Image Credits: (In order images appear.) Photo of Keck & Keck home, via; photos of the Bauhaus Haus am Horn kitchen, 1923, and containers designed by Theodor Bogler for the kitchen and the Josef Albers set of four stacking tables (1927), via; designers photo from Playboy, via; and photo of vintage mid-century modern Westinghouse beige pottery refrigerator-ware pitcher, via.