Haunted Collector Has Me Screaming Into The Night

SyFy added another collectibles show to it’s lineup. Sorta.

The Haunted Collector Team

Haunted Collector is a marriage of sorts between SyFy’s Ghost Hunter franchise and the ever-increasing television line-up of shows for collectors.  It sounded like a marriage made in heaven, but I think Ghost Hunters, the folks at TAPS, all collectibles programming, and all television viewers should ask for a divorce.

Haunted Collector follows the renown John Zaffis, “Godfather of the Paranormal” and “eminent paranormal researcher and world-renowned demonologist” and his “family” (son Chris, daughter Aimee, psychic investigator Beth Ezzo, and tech specialist Brian Cano) of investigators as they try to help people by identifying and then ridding them of their haunted objects. But…

The very things that make Ghost Hunters cool and worth watching is their diligence to detail in their ethical investigations. The very things that make the best collectibles shows (Pawn Stars, American Pickers, Oddities) cool and worth watching is the discovery of and information about collectibles. And all these shows offer a nice heaping of interesting personalities too; that’s the “reality” part of the appeal, we have to admit it.  But Haunted Collector misses each and every one of these points.  …Save for, perhaps, a bit of “personality” in team members; it’s hard to say with all the annoying stuff going on.

Errors in paranormal investigations:

A blue “cold spot” on the thermal camera appeared — quite obviously, below a vent in the kitchen’s ceiling. Instead of investigating to rule out such things as TAPS would have done, the crew heads outside to investigate under the house. Sure, they found an old gun, but fans of Ghost Hunters, like hubby and I, were perturbed.

Haunted Collector: Searching Under A House

After finding the gun under the house, it would have seemed like another “go” at an EVP would have been worthwhile, with a few questions targeting any connections to the item. And because guns like that could have been used in crimes, the team believes it’s haunted and caused the blue spot on the floor — something we never see the team go back to after the gun is removed, to see if the thermal readers resolved themselves. But instead, Zaffis keeps the gun accused of being used in a crime, placing it in “haunted museum” rather than turning it in to the police.

In the libary —  err, sorry, Zaffis’ mispronunciation drives me nuts — in the library, the antique typewriter gave high EMF readings. That could be kind of cool in terms of unexplained phenomenon, but true investigators would have moved the typewriter to another place and gave it another check — as well as the place where it once sat — to see if anything changed or could be explained.

Perhaps they did such further investigations, but they were edited out in the final cut of the show that aired?

Either way, it’s sloppy.

Zaffis also has odd rules about hauntings… He drops the idea that a house is itself haunted when it turns out it was not made from wood once belonging to a church; only church wood can be haunted?  He removes three shark jaws from a house, despite a single shred of “evidence” that they are haunted by ghost sharks — simply because they were carnivores.  Hey, Zaffis, humans are carnivores. The stuff we own is made by carnivores.

When the team got a recording on the EVP, the Godfather of the Paranormal hears the muffled noise(s) as a voice saying, “purple flowers.”  I didn’t get that. Hubby didn’t get that. I don’t think the rest of the Haunted Collector team even heard that. But sure enough, that’s what Zaffis shares with the bereaved daughter who believes the voice belongs to her mother.  Such clearly shoddy leading was emotionally abusive in its manipulation and extremely uncomfortable to watch.

Not even fans of the paranormal can really enjoy this show.

How will collectors and collectibles fare?

In terms of the collectibles themselves, they get some camera time, but even this is as oddly skewed as the paranormal investigations.

When researching an antique cane gun, said to have been purchased in an antique shop in New York I think it was, Aimee turns up some expert who says there were only a “handful of cane guns in the area” in 1870 — and there was one unsolved cane gun murder from that time, so naturally we can conclude it’s haunted. Ummm, isn’t one gun a “handful”? Anyway… Listen, 1870 was the year the gun was likely made, there’s no proof the cane gun was ever in New York at that time — and so how do you get there?  I guess it’s enough of a reason to take the rare valuable antique to your personal museum.  …And why is it, again, you don’t really tell us the value of the cane gun you took?

(And, while on the subject of your personal “museum of haunted collectibles”… I wonder, how does that work? Do the haunted objects wrestle one another? Is it a loud place? Moving on…)

When researching the music box,which looks no more than 10 years old, no one even points its age out. I suppose that doesn’t matter in terms of an object’s supposed haunting; but to collectors it matters.  Having the local antique shop owner say she has no doubts the music box could have sentimental value to someone was a silly statement. Name one object that couldn’t have sentimental value?

Photos of my children, you are all haunted!

Oh, and then there’s scary just to be scary. Not just how it’s filmed (think Ghost Hunters meets Blair Witch), but what is filmed.

The vintage cold paint figural clown face McCoy pottery cookie jar (I had just sold one!) got a lot more camera time than it deserved. I don’t just say that as one who is uncomfortable around clowns. Clearly the clown is suspicious — the team thought so too. But merely suspicious, creepy in a way that loves the camera, or out-and-out accused of haunting places, the object is given minimal attention. Not only in terms of “proof” of being haunted, but in terms of history, price or any “value” at all.

In short, the marriage between collectibles TV and ghost hunting shows could have been great — maybe it could still be. But I have little hope.

Yeah, Haunted Collector sends me screaming into the night.  Or mocking into the night; because we watched the second show rather like an episode of MST3K. It became the only way I could sit through it. My apologies to the people on the show who sought help.  And, here’s some free advice: Next time, call TAPS.

PS Even more annoying than the fact that the Haunted Collector‘s official website has incessant audio from the commercial for the show in each and every page I loaded, there’s no real photos of (or information about) the items found on the episodes which have aired — making the efforts of searching fruitless as well as infuriating. I warned you.

Antique & Vintage Camphor Glass Jewelry

Over at My Humble Collection Rumblings, Stella Collector has a great article on collecting camphor glass jewelry — including fabulous photographs.

Here’s a quick snippet to entice you to read the rest:

Camphor Glass pieces started to be made first around 1890 mostly as mourning necklaces or brooches, and were made right up to the early 1940,s…. becoming perhaps most popular in the late 1920’s to mid 1930’s.

Reproduction pieces have been made in the last 20 or 30 years and it is really not easy for the lay man to tell the difference, it’s just a little thing here or there a clasp perhaps…take for instance there were no safety clasps on pins back before 1930 they used C clasps.

Vintage Flocked Hallmark Easter Card

This vintage Easter greeting card features a blond toddler in a flocked bunny suit, exploring his Easter basket full of dyed eggs — the one in his hand has hatched and he’s surprised to meet the chick inside!

On the back, the Hallmark stamp (10E630-5), copyright MCMXIIX (1920) Hall Brothers, Inc.

Unique Way To Display Your Button Or Pinback Collection

I spotted this clever display idea at a local antique mall: the dealer has put a selection of collectible pinbacks in a birdbath.

At home, of course, this might present a dusting problem (always the bane of collectors!), but if you used a sturdy cement birdbath, you could place a large round piece of glass or Plexiglass over the top. Like the kind used to make those round boudoir tables.

The clear covers would keep dust, pet hair and other contaminants out (and, if UV protective, damaging sunlight too) while still allowing the collection of vintage lithos, celluloid, and metal pinbacks to be on display. This would work well for housing and displaying vintage and antique buttons and other small bits and bobs too.

Imagine it as an end table, next to your sofa or chair, with a little vintage lamp on top, lighting the contents, inviting guests to look inside. A very charming conversation piece!

What I Dig Through

What I Dig Through

As an antiques dealer, or picker, I spend my days digging through great volumes of stuff trying to find the things collectors want.

 

On any given day, I might be at an auction, sorting and sifting through the items and boxed lots and waiting for specific items to go up for bidding. I might be driving around, going from rummage sale to garage sale to yard sale, looking over all the used clothing and household items for the vintage collectibles and antiques. I might spend hours at a single thrift shop, sorting through, piece by piece, thousands of old crafting booklets (see photo). I might be waiting in the snow for my chance to enter an estate sale. I might be waiting in the rain (or, if I’m lucky, in my car waiting out the rain) at a flea market. I might be on the way home from the grocery store and find myself stopping for an impromptu dumpster dive or negotiation with a guy just cleaning out his garage.

Such glamorous work, right? *giggle*

Most collectors appreciate these efforts and understand that’s why prices are what they are; I am paid, in part, for my efforts in finding the collectible needle in the proverbial hay stack. Collectors know how much work this is because they’ve done it themselves. Collectors pay not only because I was the finder of the keepers, but because they may not have the time to search as many places, for as many hours, as I do.

But…

Have you ever noticed the number of people who complain about prices dealers ask for?

Not just comments made in antique malls and flea markets, but the accusations made in comments left at blog posts and forums about collecting television shows?

People seem so outraged that pickers, auction buyers, dealers, pawn show owners, et al want to buy low in order to turn a profit. As if they would sit on a floor at a thrift shop, sorting through every single craft booklet, for several hours — on the chance they’ll find anything interesting. And, should they find something deemed worthy, take the gamble on the investment hoping for a return if and when another person finds it worthy of their own collection.

If these people who complain about the unfairness of pricing had ever put in such time and effort, well, they wouldn’t complain!

(And, of course, dealers also have overhead or costs of doing business. Whether it’s a physical shop or selling online, there are costs beyond the initial cost of the item.)

I know most of you reading here are collectors — and many of you are pickers and dealers too. So you get all this. But sometimes a girl just has to defend the realities of collecting, to vent a bit. Even if it is like preaching to the choir. *wink*

(Feel free to vent yourself by leaving a comment!)

Pawn Queens Becomes A Series

Via Entertainment Weekly, news that TLC has picked-up episodes of Pawn Queens.

Stating that the two episodes I reviewed, which aired back-to-back, was a “special,” TLC has committed to an eight-episode series order.

I’m excited to see Pawn Queens return to the air (but remain appalled by the sexist comments that continue to poor in about the show).

No word, yet, on TLC’s other antiques and collectibles special/show, What The Sell?!

DIY China Jewelry Display

I have very mixed feelings about modifying or changing antique and vintage things, but when I saw this project converting plates (and a candlestick) into a jewelry holder I thought it would be a wonderful way to salvage china pieces, bring them out of the boxes and shadows and back to life.

I’ve seen this done before, but all the tiers were plates, and it became a nice tidbit tray for serving cookies, etc. Having the tea cup saucer on top makes for an excellent lip for hanging wire earrings!

Wouldn’t this be a fabulous way to share an antique, but incomplete, family heirloom china set? It would make it easier to share the family china with each one of your children!

American Pickers’ DVD Giveaway!

In celebration of Season Two, and all things American Pickers, we’ve been given two copies of American Pickers: The Complete Season 1 to giveaway!

American Pickers is the antiques and collectibles show on the History Channel, featuring childhood buddies turned business partners Mike Wolfe and Frank Fritz who travel the country “picking,” hoping to find treasures among the trash.

And they don’t mind having a little fun — even at their own expense — as they do it.

Frank & Mike As Laurel & Hardy

But you fans already know this and just want to hear how you can win the DVD. Even those who haven’t yet seen the show want me to get on to the contest details. *wink*

How can you be one of the lucky winners?

It’s easy! Leave a comment here, telling us your favorite American Pickers moment, find or favorite thing about the show in general. Or, if you’ve not yet been able to see the show, tell us one of your favorite things about Inherited Values.

You can also get extra credit by entering in these additional ways — use them all, or take your “pick.”

* Blog about this giveaway, giving your answer (favorite thing about American Pickers &/or Inherited Values) and linking to this giveaway post. Then come back and leave the URL of your post as a comment.

* Follow Inherited Values on Twitter, @InheritedValues, and let us know by leaving a comment here, including your @twitter handle.

* Tweet about the contest simply by tweeting this:

Win @americanpicker DVDs from @InheritedValues Enter #giveaway here: http://tinyurl.com/663z933

You can Tweet twice a day.

* Follow or “like” Inherited Values at FaceBook.

* Follow or “like” American Pickers at FaceBook. (Be sure to leave a comment with your FaceBook ID so we can confirm your entry!)

Fine Print Rules:

This contest giveaway is open to those who reside in the US &/or Canada.

Since there are two DVDs, there will be two winners; one copy per winner.

Entries must be received/posted on or before February 2, 2011 (that would be midnight, central time, on February 1, 2011). Only entries as described above, will be included in the random draw.

Scene From Season Two Of American Pickers

Antique Dutch Dollhouses Fit For A Czar?

Below is a scan from the December 1923 issue of The Mentor; the page is an article by Vincent Starrett entitled A Doll’s House Built For The Czar Of Russia:

As usual, the discovery of this article about an exquisite eight-foot tall, six feet wide dollhouse leads to something even more fascinating than supposed!

The article tells the story of Peter The Great who “was living in Holland as a young man of twenty-four, working at various jobs to acquaint himself with the arts, commerce, and industry of the Dutch” and “chanced to see one day a tiny model of a seventeenth-century dwelling, and promptly fell in love with it.”

“No matter what the cost,” he declared, “I must have one like it.” But the miniature house and its lovely furnishings were not for sale, and the creator would make none for pay. The artisan’s name was Brandt. He was a successful merchant of Utrecht, who, having amassed a fortune, had retired from business and in his leisure made diminutive houses, furniture, toys, and ornaments for his amusement.

The article continues to say that Brandt’s creations “became the rage.” His hobby of making “exquisite toys” and “houses of Lilliputian dimensions” quickly provided him with a market, and possessing one of his creations “became a passion, and fashion, with collectors.”

The Antiquarium Museum at Utrecht, the old Dutch university town, still treasures one of Brandt’s sumptuously furnished little dwellings, with thumb-nail paintings on the wall by Dutch celebrities. It was probably this very model that so enchanted Czar Peter and stirred his desire to own one like it.

So, the article goes, Brandt graciously offers to make one of the dollhouses for Peter, “a little palace excelling all others in delicacy an ingenuity of workmanship, furnish it appropriately, and equip it with all the necessaries of life in a patrician Dutch household of the times.”

With his own hands he constructed a three-story house of about six feet wide. All of the furniture it contained was made by him. He made the molds, which afterward he destroyed, for the articles of plate and for silver and copper utensils. Regardless of expense, he had suitable carpets manufactured, and ordered chests of table and house linen woven in Flanders. The books that filled the miniature library shelves came from Mayence; each volume had golden clasps and was of a size to be enclosed in a walnut. The hanging chandeliers and services of glass were of Dutch manufacture; in the picture gallery paintings two inches square adorned the walls.

For twenty-five years Brandt labored to create this royal gift. At last he sent word to the Czar that the task was completed. His townsmen protested against such a masterpiece being lost to the country, but the model had been promised to the monarch, and Brandt had expended effort, time, and a small fortune to redeem that promise.

When Peter received Brandt’s message he had just concluded an advantageous peace with Sweden and was turning his attention to conquests in the East. But he had not forgotten the desire he had expressed a quarter of a century before, and he directed that a reply be sent asking what he would have to pay for the possession of the masterpiece. Deeply offended at Peter’s gross tactlessness and disposition to bargain, Brandt replied that even a czar had not money enough to pay for twenty-five years of a man’s life. Forthwith he presented the house to the nation. It is now in Amsterdam in the Royal Museum, none of whose treasures better exemplifies Dutch patience, industry, and love of decoration than the little house that Brandt build for Peter the Great.

That’s where the article ends — but my work begins.

If I thought I could just post this scan from a vintage magazine and, should I be so lucky as to find it, include a link to the czar’s dollhouse at the Royal Museum, I was to discover differently.

Yes, there’s an antique dollhouse at the Rijksmuseum — and it looks to be the same one shown in this articles photo (minus the glass doors on the cabinet — but the furnishings are too specific to be another dollhouse, and the dimensions are about the same), but from there it gets weird…

The museum doesn’t credit the maker of the dollhouse, but it does specify the owner as Petronella Oortman. Oorman was married to a silk merchant named Johannes Brandt — is that were the name Brandt comes from? If so, that might be explained away easily enough, I suppose… But given the strong relationship between Holland and Peter the Great, certainly if this dollhouse — or any dollhouse — had any connections to the czar, the museum would mention it.  …At least I think so.

There’s another fabulous antique dollhouse, this one was owned Petronella de la Court, that sits on display at Utrecht’s Centraal Museum.

I don’t know if this is the other “Brandt” Dutch dollhouse from the “Antiquarium Museum” at Utrecht that Starrett, in The Mentor article, suggests “enchanted Czar Peter” or not, but it certainly is enchanting.

In The Speaker (Volume 11, 1905, Mather & Crowther), Edward Verrall Lucas writes of an antique dollhouse from the same Dutch craft period.  I feel compelled to share a snippet not only because it might just be the de la Court dollhouse and the “Antiquarium,” but for the author’s descriptions.

At the north end of the Maliebaan is the Hoogeland Park, with a fringe of spacious villas that might be in Kensington ; and here is the Antiquarian Museum, notable among its very miscellaneous riches, which resemble the bankrupt stock of a curiosity dealer, for a very elaborate dolls’ house. Its date is 1680, and it represents accurately the home of a wealthy aristocratic doll of that day. Nothing was forgotten by the designer of this miniature palace ; special paintings, very nude, were made for its salon, and the humblest kitchen utensils are not missing. I thought the most interesting rooms the office where the Major Domo sits at his intricate labours, and the store closet The museum has many very valuable treasures, but so many poor pictures and articles—all presents or legacies—that one feels that it must be the rule to accept whatever is offered, without any scrutiny of the horse’s teeth.

(This piece by Lucas, with a stated copyright of 1904, appears to be what he published as a book in 1906, A Wanderer in Holland (Macmillan) — just in case you’d like to read more.)

Starrett never mentioned nudes paintings in the old Dutch dollhouse — but maybe he was less flappable in the Roaring Twenties than Lucas was at the turn of the century. And the commentary on the museum itself is rich — Lucas could be describing a lot of my collection and collection practices! *wink*

But still, the whole point of Starrett’s little story was right there in the article’s title, that the dollhouse shown had been made in Holland for Peter The Great; yet I could find no connection between Peter and Dutch dollhouses whatsoever.

So, I continued to research, like any obsessive would do.

I then found this bit in Dutch And Flemish Furniture, by Esther Singleton (The McClure Company, 1907):

In the Rijks Museum are several models in miniature of old Amsterdam houses. The finest one is of tortoise-shell ornamented with white metal inlay. According to tradition, Christoffel Brandt, Peter the Great’s agent in Amsterdam, had this house made by order of the Czar, and it is said to have cost 20,000 guilders (£2,500), and to have required five years to produce.

There’s that name, “Brandt,” again.

Or maybe not.

Seems the name of the czar’s Netherlands associate was actually Christoffel Brants, aka Christoffel van Brants after Brants was knighted by the czar. And while it seems Peter received actual houses from Brants, there’s still, no mention of houses specifically for dolls.

So, without further documentation, I’m left to conclude that Starrett’s story is just that, a story. (The man did love his stories! Among other things, Starrett collected books and was a Sherlock Holmes scholar.)

Or maybe you’d prefer the terms Singleton uses, “tradition.”

Either way, that would explain a number of things, such as the name Brandt being recalled, even if inaccurately, and the number of years it took to create the dollhouse changing by five-fold.

However, by the 1950s this traditional story of Peter The Great’s Dutch dollhouse has changed a bit with the telling… As most legends do.

In 1958, many American newspapers ran what appears to be a wire story; the uncredited story is exactly the same in each vintage publication. Here’s a copy from Kansas’ Great Bend Daily Tribune (June 22, 1958) — which reads pretty much like copyright infringement case for dear old Starrett (unless he was the one paid by the wire service), except for the first two lines:

Once there was a dollhouse so lovely that the czar of Russia, Peter the Great, wanted it very much. He hadn’t money enough to buy it however, believe it or not!

Cold war press copy conveying the anti-Russian sentiments, perhaps?

Then, in South Dakota’s The Daily Republic, February 19, 1977, the legend of Peter the Great’s Dollhouse gets tweaked again:

Those dollhouses were so expensive that only a few people could afford them. Peter the Great of Russia once ordered a dollhouse but when it was delivered, he refused it. The price was just too much.

The czar may have ordered and owned at least one fine Dutch dollhouse; but I can’t find any proof.

(See, I’m not just obsessive with my research as some sort of personality quirk; it’s necessitated!)

End (Table) Of The Road For Industrial Americana

Andrea Porter, an honors graduate from Fashion Institute of Technology, spent over 14 years working in the textile business until one day she found herself in need of a new coffee table. Unhappy with the current options available in today’s commercial design world, she decided to look into the past and created a coffee table out of an old rusted gear she’d previously found at a flea market. When the newly repurposed piece came home from the local welder and friends began to express interest in having their own, gears began to turn in Porter’s mind… Now, with the help of her sister, Ameri Spurgin, Porter cranks out repurposed items from the past into new functional pieces of home decor via Arms and Barnes.

The company’s name honors the sisters’ childhood nicknames while the company itself honors the American past in (re)purpose and motto, “Finding the beauty and potential in things forgotten.”

Old industrial, factory and farming items (such as iron fence pieces, old gears, thrasher wheels), architectural pieces (like scrolled window grates, register vents, fire place covers) and even more domesticated pieces (cast iron cookware and the wooden harness of weaving looms, for example) now find themselves converted into practical, conversational, chic tables for your home.

Joel Hester does something similar with scrapyard metal.

HGTV’s Cash & Cari

When I first heard about HGTV’s Cash and Cari, I got a little excited thinking this show might focus more on decorative collectibles, plus offer a splash of do-it-yourself (DIY) home decor creativity. While the show has all that potential, I really was disappointed.

Cash and Cari (Cari is not pronounced like “carry,” but like “car” with an “e” on the end, so it’s not quite the pun your eyes expect) follows the work of “estate sale guru” Cari Cucksey of Michigan’s RePurpose Estate Services.

If you like watching how to set up an estate or rummage sale, then maybe you’ll like this. However, for me, the show lost points when it dropped a standard part of the collectible shows format: the visit with the expert or in depth look at a few items. I realize this part of the show’s time was given to the DIY component — and that was something I was looking forward to; but in this particular episode this segment infuriated me.

In this debut episode, Cari purchases an older used bench for $40 and has a staff member give it “an impressive makeover.” The makeover consisted of repainting the bench, removing the older upholstered seat, and replacing it with new fabric — sewing a decorative throw pillow to match. However, the new “upholstery” job was terrible.

The fabric was staple-gunned in place and the staples hidden from view by hot-glue-gunning some sort of open-weave rick-rack lace over it. Use of a glue gun on the seat of a bench in place is anything but quality. (The dried glue will be lumpy, visible, and likely to peel away if the object has any use whatsoever ; it’s not appropriate for furniture or seating or anything besides the purely decorative.) Anything but quality and certainly not worth, in my opinion, the $300 they proposed to sell it for. Normally I don’t like to argue the price someone gets for something; different location alone can create marked price differentials. But this bench was really a shoddy DIY job and not fit for an audience of antiques and vintage collectibles fans.

Collectors of antiques are looking for quality.

Plus, the item was to be sold at “the shop,” and it kind of makes you wonder how the bench will be presented there… As an antique or vintage piece, or as a quickly made home decor piece? It’s the sort of thing an experienced collector wouldn’t be fooled by, but it’s also the sort of thing, like reproductions offered for sale, that most collectors want to know are properly represented so that no one feels tricked. No mention of this — after such a cheap makeover, weakens Cari’s credibility.

Yes, I watch a lott of the collectibles shows, and I did consider how potential “burn out” might be coloring my thoughts about Cash and Cari; but I don’t think that’s it (see my post about Oddities).

Where Cash and Cari suffers is a lack of focus on what makes the other shows great (personalities and drama of “cast,” information segments, &/or presentation of values of items) and a complete fumbling of the potentially fabulous DIY segment.

In trying to be kind, I wished HGTV had, as many of the other networks have, given us more than one episode to watch so that I could see if another episode could make me a fan… But then I realized HGTV thought this episode was strong enough to be the series lean-in and if that was their best foot forward, I don’t think I’ll watch another episode.

Discover(y) The Oddities

You might just think I’d be tired of watching and reviewing all these antique and collectible TV shows — so tired of them, in fact, that I’d be dreading yet one more. But if that’s what you were thinking, you’d be wrong; Discovery Channel’s Oddities has become a favorite “can’t miss” in terms of my television viewing.

On Oddities, we watch the on-goings of the owners (Evan Michelson and Mike Zohn) and staff (Ryan Matthew and Ersan, intern aka The Cerd) of Obscura Antiques and Oddities, a shop located on New York City’s East Village, dedicated to “the weird world of strange and extraordinary science artifacts.” Here you’ll find the more eclectic and shall we say less mainstream antiques and collectibles, such as antique medical devices, anatomical art, sideshow relic taxidermy.

Some of my personal highlights:

An ancient Egyptian mummy hand — which is notable alone for the one time in one of these shows I’ve seen the expert put on gloves. Plus, we hear from that museum professional that his coworker actually has a taste test for authenticating mummies; too bad she wasn’t around that day. But even if it is authentic, is it legal to sell? …Oh, now that’s another interesting turn.

Rachel Betty Case brought her “human ivory” artwork — made from human fingernails (well, and toenails, and pet nail clippings); which I found fascinatingly beautiful.

A guy who wants a bug to scare his wife with; another man who wants the perfect creepy dental gift for his retiring dentist friend.

I’m not sure I even want a two-headed cow or four-footed chicken taxidermy piece… But if I did, I now know better how to tell if such a thing is due to an animal with an authentic genetic defect and not some fake.

And Laura Flook, embalmer turned model come fashion designer. Yup, you read that right. Flook is at Obscura looking for a mortuary table for her fashion shoots. As Ryan says, “One interesting thing about Laura is her devotion to art whether it’s a mortician, model or a clothing designer.” So devoted, yet this designer of clothing inspired by Victorian-era mourning wear is dreamily flabbergasted when she returns to Obscura in another episode to discover corsets. Admittedly, one of the medical corsets is not the normal corsetry that springs to mind; but she buys one that I’ve got in my own collection. This Flook is fascinating to me… The way she talks, everything. I hope she returns in future episodes.

Along the way there are also various circus performers (sword swallower, escape artist, etc.), theatre folk (an unusual playwright, a performer who uses blood to increase the drama), and some more mainstream celebrities (not unusual given the name dropping at the Discovery Channel’s site).

Oh, and yeah, there are the collectibles too. From horrifying medical implements to medical quackery devices, from odd little vintage toys and masks to coffins (cradle to grave, I tell you!), and other assorted (or is that a-sordid?) pieces of history.

Another great feature of this show is it’s ability to leave the shop.  It’s because of that we not only see the great lengths the staff goes to in order to procure an object for a collector, but we see the fabulously odd collections of others.  That’s something missing from most of these shows.

But with this Oddities, you definitely come for the surprises. Even if you come for the antiques and collectibles, you’ll find your intrigued by a lot more; and that’s a surprise too, right?

Because the items themselves are more dramatic, the majority of clientele themselves more interesting, there’s no need for the cast to be fraught with personality dramas, or for the show to bilk the monetary value. (Honestly, this is one area where the prices seem too low to me; the items are that, well, obscure!) So while this is part of the same genre of collectibles programming, it’s not quite the same trite formula. And it’s done absolutely right.

Oddities can be seen on Thursdays at 10:30 p.m. E/P on the Discovery Channel and also on its sister channel, the Science Channel, Wednesdays at 9 & 9:30 PM E/P. Join me in watching it — at least once!

The Mentor Magazine

The Mentor magazine is an obscure vintage magazine for several reasons: The creator’s intentions, its various incarnations, and rather shoddy historical record (it is not listed in the National Union Catalogue of Periodicals).

The publication begins with William David Moffat. Moffat attended Princeton; while in school he has several works published, mostly sports stories for boys under the name William D. Moffat. Upon his graduation in 1884, he went to work for Scribner’s where he’d stay for two decades, working his way up from sales, to the education department and finally the business manager for The Book Buyer and Scribner’s Magazine. In 1905 he leaves Scribner to form his own publishing house, Moffat, Yard & Company, with fellow Princeton alum Robert S. Yard. By June of 1912, Yard was no longer active in the company, and Moffat, Yard & Co. announced it was moving in to share the offices of another publishing house, John Lane Company. While this was said not to be a true merger, but rather a shared management and expenses sort of a thing, it is at this time that Moffat begins The Mentor Association.

The Mentor Association is rather like Moffat’s attempt at a think tank. He gathers men who were specialists in their area and, with himself as editor, they proceed to share their information in a publication so that persons might “learn one thing every day.” This publication was The Mentor. Here’s how the association and publication were described (taken from The Mentor, Volume I, Number 38, November 3, 1913):

The purpose of The Mentor Association is to give people, in an interesting and attractive way, the information in various fields of knowledge that they all want and ought to have. The information is imparted by interesting reading matter, prepared under the direction of leading authors, and by beautiful pictures, produced by the most highly perfected modern processes.

The object of The Mentor Association is to enable people to acquire useful knowledge without effort, so that they may come easily and agreeably to know the world s great men and women, the great achievements, and the permanently interesting things in art, literature, science, history, nature and travel.

…We want The Mentor to be regarded as a companion. It has often been said that books are friends. We give you in The Mentor the good things out of many books, and in a form that is easy to read and that taxes you little for time. A library is a valuable thing to have if you know how to use it. But there are not many people who know how to use a library. If you are one of those who don t know, it would certainly be worth your while to have a friend who could take from a large library just what you want to know and give it to you in a pleasant way. The Mentor can be such a friend to you.

And since the word “library” has been used, let us follow that just a bit further. The Mentor may well become yourself in library form. Does that statement seem odd? Then let us put it this way: The Mentor is a cumulative library for you, each day, each week a library that grows and develops as you grow and develop a library that has in it just the things that you want to know and ought to know and nothing else. Day by day and week by week you add with each number of The Mentor something to your mental growth. You add it as you add to your stature by healthy development; and the knowledge that you acquire in this natural, agreeable way becomes a permanent possession. You gather weekly what you want to know, and you have it in an attractive, convenient form. It be comes thus, in every sense, your library, containing the varied things that you know. And you have its information and its beautiful pictures always ready to hand to refer to and to refresh your mind.

So in time your assembled numbers of The Mentor will represent in printed and pictorial form the fullness of your own knowledge.

It is also in this issue, that The Mentor gets a new look:

We have chosen this cover after a number of experiments. It has not been an easy matter to settle. The Mentor, as we have stated more than once, is not simply a magazine. It does not call for the usual magazine cover treatment. What we have always wanted and have always sought for from the beginning has been a cover that would express, in the features of its design, the quality of the publication. In the endeavor to make clear by dignified design the educational value and importance of The Mentor, the tendency would be to lead on to academic severity and that we desire least of all. On the other hand, it would be manifestly inappropriate to wear a coat of many colors. The position of The Mentor in the field of publication is peculiar its interest unique. How best could its character be expressed in decorative design?

We believe that Mr. Edwards has given us in the present cover a fitting expression of the character of The Mentor. It is unusual in its lines that is, for a periodical. It has the quality of a fine book cover design at least so we think. It will, we believe, invite readers of taste and intelligence to look inside The Mentor, and as experience has taught us, an introduction
to The Mentor usually leads on to continued acquaintance.

Originally The Mentor was a weekly, published by the Associated Newspaper School, Inc. (New York City) and hardly more than a pamphlet or folio; a dozen or so pages with “exquisite intaglio gravures” loose inside. (The fact that these images were not bound in the publication means issues are often found incomplete.) Each slim issue was on a specific theme and there were tie-ins with newspapers, adding to The Mentor‘s educational publication feel.

From a practical standpoint, the narrow focus of each theme likely complicated or limited the periodical’s circulation numbers. It’s one thing to say your publication is “an institution of learning established for the development of a popular interest in art, literature, science, history, nature, and travel,” but with such issue-specific themes, readers may have done what collectors who spot copies do today: Pending the theme, either fell in love or turned up their noses and eschewed the entire publication.

(Most collectors seem to covet The Mentor on an issue by issue basis; seeking out the single issue the theme of which suits their collecting interest, or coveting the January 1929 issue on Famous Collectors & Collecting.)

Perhaps this is why in its second year, The Mentor ceases weekly publication and lowers costs by being published only twice a month.(Subscription fees change from $5 to $3 a year.) It still retains the single theme per issue, but perhaps the frequency of publication change is also seen as a better way to market itself. It is also at this time that the publisher is changed from Associated Newspaper School to The Mentor Association.

By mid-1919 wartime inflation would forced the price of subscriptions to The Mentor to increase to $4 per year — but bigger changes were coming.

It was during this time that The Mentor becomes a monthly and introduces more color on the covers.

In the October 1920 issue, the magazine increased the number of pages to 40 and, finally, the six gravure pictures were bound into the center of the magazine, becoming numbered pages in each issue. It is also at this time that The Mentor softens its strict each-issue-devoted-to-a-theme stance, allowing the last five pages of each issue to free of the main topic.

In 1921, The Mentor is purchased by Crowell Publishing Co. with W. D. Moffat remaining on as editor. There are no noted changes until the August 1922 issue’s page size increase. (By the April 1927 issue, the page size of The Mentor would grow to the same size as that time’s Atlantic Monthly.)

In 1929, the 63 year old Moffat is ready to retire as editor of The Mentor. It is in this news bit from Time magazine (August 19, 1929) announcing the change, that we get more insight into the Moffat’s intentions and legacy:

Editor Moffat never aimed at mass-circulation. Even when mass-circularizing Crowell Publishing Co. (American Magazine, Colliers, Woman’s Home Companion) bought The Mentor in 1920, it did not commercialize original Mentor ideals, but retained Editor Moffat, continued to please the 50,000, the 70,000, finally the 100,000 who liked The Mentor for what it was.

And now is when the magazine changes significantly; as reported in that same Time article:

Starting with the next (September) issue, The Mentor will no longer have a theme-subject. Instead there will be articles on many a different topic, by such authors as Walter Davenport, W. E. Woodward, Margaret Widdemer, Will Durant. There will be seven four-color pages in place of rotogravure; a cover in the “modern manner”; a history of tennis by William Tatem Tilden, 2nd; a history of dog fashions by Albert Payson Terhune.

To make The Mentor youthful, Crowell Publishing Co. has put a youthful man in the editorship, Hugh Anthony Leamy, just past 30, round-faced, amiable, onetime New York Sun reporter, for the last three years an associate editor of Collier’s. About The Mentor, what its plans are, he will talk with hopeful enthusiasm. About new Editor Leamy he is reticent. “I’m still an untried man at this job,” he explains. “But The Mentor? Well, you know, we thought it best to go through with a big change all at once to keep it up with the changing times. . . . You might call the new Mentor a nonfiction, up-to-date magazine for people who want to learn about various matters, but who want to be amused at the same time—not bored.”

Now The Mentor is printed in the style of that period’s Vanity Fair; from the slick paper and illustrative appearance to the “modern” and “amusing” content, including fiction.

But the dumbing-down and dressing-up didn’t help circulation any; as Time reported in April 21, 1930:

Crowell Publishing Co. employes found an announcement on their bulletin board one morning last week, which read: “The Company has sold The Mentor to the World Traveler Magazine Corp. — George R. Martin, publisher.† They will assume the publishing of The Mentor, beginning with the June 1930 issue. We have become convinced that The Mentor will have a much better opportunity if handled by a publisher equipped to take care of the smaller units. Here we are fully and thoroughly geared up to handle large units and it has become difficult to give The Mentor the necessary small unit attention. We feel that Mr. Martin and his organization are equipped to continue The Mentor successfully.”

…Although the magazine’s circulation reached 85,000, it became apparent that it would never pull in harness with its whopping big Crowell team-mates—Woman’s Home Companion, Collier’s, The Country Home (onetime Farm & Fireside), The American Magazine — whose combined circulation is over 8,500,000.

To World Traveler, the Mentor went lock, stock & barrel—with the exception of Editor Leamy.

…Publisher Martin contemplates fusing his old magazine with his new, placing the amalgam under the direction of World Traveler’s Editor Charles P. Norcross, now junketing in the Orient. Because World Traveler has about one-fourth of its stablemate’s distribution, and because when two magazines combine one inevitably swallows the other, publishers guessed that the ever-mutating Mentor would be the one to endure.

† Not to be confused with George Martin, one-time (1918—29) editor of Crowell’s Farm & Fireside.

The publications were combined as The Mentor — World Traveller and given a new look, the pages enlarged to slightly larger than the size of Life magazine. But contrary to what the publishers in that 1930 Time magazine article said, The Mentor doesn’t seem to be the one to have endured. Nor did the The Mentor — World Traveller.

According to Paul W. Healy in The Ecphorizer:

As an indication that the end was not far off, the Reader’s Guide to Periodical Literature stopped indexing the magazine in December 1930. My last issue is January 1931; I have reason to believe it was the last published.

If you have anything to add to The Mentor story, please let us know!

Image Credits:

First issue of The Mentor magazine (Volume 1, Number 1, February 17, 1913) with six gravures via 2010lilbolharsky.

Photo of set of three vintage Mentor issues and April 1930 cover via mom-and-me-1971.

Antique Milton Bradley Dollhouse Ad

This antique Milton Bradley ad was posted in the LiveJournal Vintage Ads Community with simply the date of December 1891; no publication was cited.  I’m fascinated by the concept of another cardboard dollhouse — this one to be played with pictures of furnishings and people cut from catalog pages, not with miniatures and dolls.

Merry Martha Sleeper Jewelry & Fashions

At first I was going to post this photo of Clara Bow posing by a Christmas tree because of the fabulous decorations and stuffed toys; but once I saw this photo of Martha Sleeper I was equally smitten!

Martha Sleeper was a silent film star in the 1920s and, in the 1940s, a Broadway actress. But collectors may know her best as a jewelry designer.

Her whimsical designs in Bakelite, wood and metal were mass-produced by the New England Novelty Company. (Decades later, in the 1970s, Andy Warhol would find and adore her creations, amassing one the largest collections and resurrecting the demand for vintage Bakelite jewelry in general.)

These are snippets on Sleeper’s jewelery from a beauty and fashion column published in the Mansfield News Journal on April 17, 1940:

An ad for Martha Sleeper’s jewelry found in the Racine Journal Times November 10, 1939 — only $1!

Another ad, with an image, of Sleeper jewelry designs; The Salt Lake Tribune, October 10, 1941:

In 1949, Sleeper and her husband sailed on a 40-foot schooner from from New York for a vacation in the Virgin Islands, but when she reached Puerto Rico she fell in love with the island — and stayed. By 1950, Sleeper had given up making jewlery (“too tedious”) for making fashions and had opened “Martha Sleeper Creates,” a boutique at 101 Fortaleza St. in Old San Juan.

The shop began “with two dozen hand-made skirts and three dozen blouses  and filled up the gaps in the place with plants. People thought I had a florist shop and for the first year, I couldn’t sell anything but greens .” (Quotes from Cumberland Evening Times, May 27, 1955; below.)

By 1955, her fashions, and accessories such as purses etc., were exported to other islands and the mainland.  Below is an article from Billings Gazette, July 1, 1964, on Martha Sleeper’s lace fashions:

By 1964, Sleeper is said to have also opened a shop in Palm Beach, Florida.

Image Credits:

Vintage Martha Sleeper birds on twig pin from Decotini.

Vintage Martha Sleeper matchsticks necklace and bracelet set via ModBag.

Pair of vintage Bakelite cat pins by Martha Sleeper via halsll.

Black Martha Sleeper Creates label via Vintage Fashion Guild Forums.

White Martha Sleeper Creates For You label from Bonnie & Clyde’s Treasure Trove Vintage.

Antiques & Collectibles Shows On TLC, Maybe

The Learning Channel (TLC) dips its programming toes in the antiques and collectibles TV show waters — very tentatively.

The first try was Pawn Queens, a show not listed anywhere on the TLC website.

Pawn Queens follows the activities of Tom Brunzelle, Greg Holloway, Nikki Ruehl, and Minda Grabiec as they run the Naperville, Illinois, Jewelry & Loan. Since the pawn and resale shop tries to attract mainly female customers, the focus of the show is Nikki Ruehl and Minda Grabiec.

The first two trial episodes focused on the blunders of their business — a misplaced $9,000 diamond ring, not enough cash on hand to purchase a vintage Barbie, and, my favorite, when two of the partners clash over the purchase of an antique stove which needs a lot of restoration. (What made it my favorite was that Tom and Minda bicker like an old married couple; Tom’s purchase and beautiful professional restoration “wins” in terms of eventually satisfying Minda, but we never do see the stove sell so…)

At TV By The Numbers, where the press release for the show was published, there are many negative comments. Most of the comments are, in my opinion, extremely sexist. Not just the obvious comments on breasts, but the comparisons to Pawn Stars (of which I am a fan) are clearly filled with heated testosterone.

Even the more serious complaints at other sites of improper use of diamond testers and jewelers loupes are rather ridiculous — this is television! When have you ever seen any cast member or expert on any of the plethora of antiques and collectibles shows even put on a pair of archival gloves when handling fragile old documents? Grrr!

And, yeah, I think they (eventually) did over-pay for the Barbie; but then I don’t sell in the Illinois market.  I’m always rather struck by prices on these shows from California and Las Vegas which suggest prices we dealers can’t fathom here in Fargo — but that, long with the mistakes made and rare finds, are rather part of why I’m entertained and, somewhat, educated by these collectibles shows.

I saw the first two episodes of Pawn Queens and rather liked them; but after frantically searching for more, I couldn’t find any… The show isn’t listed at the production company’ website either, so I suspect it has been canceled.

However, in searching the channel guide so often, I found TLC’s second try, What The Sell?!

What The Sell?! isn’t only TLC’s return to antiques and collectibles television — it’s another return to Illinois and, for the jaded, a return to the reality show Pawn Stars format of three generations running a business.

In this show, the action is focused on Kate Martin (the daughter), Judy Martin (Kate’s mother), and Gloria Moroni (Kate’s grandmother), the owners and appraisers of The Perfect Thing, an upscale consignment boutique in Wheaton, IL. That means more antiques, art, and decorative pieces than in many of the other shows which seem so male focused.

As you might guess, there are the usual family frictions, such as when Daughter doesn’t listen to Mom when having a chair reupholstered, and the usual dickering — including among the ladies for who has the right to purchase and take home a favored item. And lots of giggling when Grandma is the only one mature enough to discuss the 1920s tin of condoms found inside a Flapper’s purse.

I’ve only seen one and a half episodes of this new(ish) show, but it holds some interest.

What The Sell?! barely has a mark on the TLC website; just a few episodes listed on the schedule — which is more than Pawn Queens has, but still, that’s not too promising…

My only real comment is that TLC ought to commit to antiques and collectibles programming, give us a chance to find new shows — especially in a busy holiday season.

Ephemera Collector Saves Baby & Bathwater From Being Tossed Out

Ephemera collector Dick Sheaff shares this 1875 carte de visite (CDV) photograph by William Shaw Warren of Boston which seems to be the source for The Pond’s Extract Company’s trade card advertising.

Dressing Up The Past: Antique Candy Boxes

Roughly 19 months ago, this vintage papier-mache chocolate gift box was found in the carefully-preserved collection of Swiss chocolatier Frederick Belmont, who founded Bettys Café Tea Rooms in Harrogate in 1919.

Dating to the 1920’s, the figural paper candy box has a little vamp posing in her silk lingerie lounging atop a white bearskin rug.

Sarah Wells looks after the Bettys archives/Frederick Belmont collection, which dates to 1919. In an interview with the Ilkley Gazette, Wells said:

It is part of a selection of bits and pieces kept by Mr Belmont. He kept a scrapbook of adverts and lots of other things from the 1920s and 1930s.

Wells says the company is lucky to be able to draw on inspiration from the collection of original items kept all these years. In the recent past, the chocolate company has used illustrations from the collection on its new tins, such as this Lady Betty tin.

When staff at Betty’s unearthed this vintage papier-mache chocolate gift box with the lovely lady, they were charmed — and a bit shocked!

We hear our founder had an eye for the ladies but even so, our mystery model was leaving very little to the imagination… The sensuous slant of her garment suggests that a fine chocolate or two was simply a prelude to a passionate encounter.

In this article in the Yorkshire Post, Miss Wells had this to say about the risqué candy box:

I am surprised at how daring the original chocolate box is for its time as there is quite a lot of flesh on display. I know there were flappers and jazz bands, but it is still not far from the Victorian period. The fact that it is still a bit risqué even nowadays, shows it must have caused quite a stir.

Yet the charms of the lady were too plentiful to ignore — not only in terms of a new tin, but the chocolates themselves. The Telegraph reports:

Following the discovery of the box, chocolatiers have spent the past 18 months painstakingly recreating and modernising Mr Belmont’s original recipes.

Bettys executive chocolatier Claire Gallagher, who helped develop the new range, said: “The original box was absolutely beautiful.

“Obviously it had to be slightly changed but it is wonderfully nostalgic and helped inspire the chocolates in it.

So, on the new tin, the model has been modified:

The pretty brunette has had buttons added to her clothes, her hair smoothed down and a suggestively arched eyebrow has been lowered to make the box more appropriate to the tea room’s wholesome image.

She still remains lovely…

Though I prefer the antique “risqué” version. But I am American, after all, and our standards are a bit different. *wink*

If you have any information about the model who posed for this vintage box, or the “Betty” for whom the chocolate company was named, please contact Sarah Wells: sarah.wells@bettysandtaylors.co.uk

Image Credits:

Woman with papier-mache 1920’s vintage gift box via Yorkshire Post.

Lady Betty tin via Bettys Café Tea Rooms.

Vintage paper box with new tin photo by Glen Minikin RossParry.co.uk, via The Telegraph.

Auction Hunters On Spike

Spike TV enters the antiques and collectibles television programing fray with Auction Hunters.

Similar to Storage Wars, this show’s action is focused on the bidding, buying and selling of the content of storage units; unlike Storage Wars, the show has a much stronger focus on antiques and collectibles, and only follows two men.

The two men are Clinton “Ton” Jones and Allen Haff, partners in their quest to win auctions.

The fact that these men are partners gives the show a camaraderie — more like the ribbing on American Pickers than the very macho male competition on Storage Wars.

Auction Hunters is also much more frank about educating you, the viewer, on how to evaluate storage units. There are tips on what to bring, how to spot a “good locker,” and they even show you more of the work and expense involved in restoring things before they’re flipped for profit.

The first season’s nearly over for this TV series; the season finale is scheduled for Tuesday, December 21, at 10/9 PM.  Initially, I had a very difficult time finding the show on at a time I was able to watch; but when one episode is on, there’s usually a block or marathon of them, so you can likely find some time to watch a few episodes back to back.  And I highly recommend that you do.

Putting a Price on Priceless

Anyone who has watched even a little television in the last decade will know the popularity of shows where experts help ‘average people’ look through their possessions in the hope of finding something surprisingly valuable. Except, it shouldn’t really be a surprise because nearly everyone, or so you would be forgiven for thinking, has something worth thousands of pounds sitting around in their house.

Whilst this is perhaps not strictly speaking true, most of us do own items of some considerable value, though whether they’d make their way onto an antiques programme is another matter. Even things we may not consider to be all that valuable can be worth a lot of money, so it’s important to keep their protection in mind.

Home insurance is the first line of defence. Home insurance is a blanket term covering two separate types of insurance: buildings insurance (which covers the fabric of your house) and contents insurance (which covers anything which you would take with you if you were to move). Whilst both forms of insurance are extremely important (and they’re often sold together) it is contents insurance that is really vital when it comes to things like antiques.

The trick with contents insurance is to remember that you are looking for value rather than price. The cheapest deal is not going to be the best one if it doesn’t provide the level of coverage that you are looking for.

But what is the right level? All the advice says the right amount of coverage is the sum you would have to pay if you had to buy everything you own again. Except, sometimes you can’t buy things again, because they are unique and antique, or because they have sentimental value.

Unfortunately, sentimental value doesn’t mean too much to insurers, but the unique and the antique does. Make sure you get an independent valuation and, if something is worth a particularly large amount, get it insured separately, you’ll have to pay a touch more for the privilege but you will guarantee that you’re fully covered for everything.

Another tip is to always keep a comprehensive list of everything particularly valuable that you own, along with (if possible) up to date images of each object to vouch for the condition of the objects. This will make it much easier if you ever have to make an insurance claim.

Finally, don’t be put off by all the competition in the market. Finding an insurance policy can be daunting, so use the competition to your advantage and strike a hard bargain, that’s the best way of getting a good deal. Check out comparison websites, specialist insurers, and even for antiques it’s worth taking a look at the odd mainstream insurer like Legal & General (who offer a wide range of home insurance policies), you may be pleasantly surprised.

Image Credits: Maid Cleaning the Silver Ware Photographic Print by Nina Leen; via AllPosters.com.