The Stoneware Face Jug: A Treasure Hidden Away for a Hundred Years

Stoneware Face Jug, attributed to Bath, (Aiken County), South Carolina, area, second half 19th century, Auctioned for $56,287.50 on March 5, 2012

When I first set eyes on this face jug, it was tucked inside a glassed-in bookcase alongside dishes, books, and other everyday things. I took it out, and said, “This is terrific! It’s beautiful!”

Beautiful might not be the first word that comes to everyone’s mind when looking at a grotesque face like this one, but I knew the jug was something special. I loved the diminutive size—it fit in the palm of my hand—plus the fact that it survived from the 19th century with no damage. It wasn’t even dusty.

It wasn’t until we’d taken the jug back to Skinner Auction House when specialist Karen Langberg found a note tucked inside the jug that read, “Monkey Jug= made at Bath S.C. 1862 by negro slaves/Aiken S.C.”

I asked the consignor about her great-grandfather who had collected the jug and written the note. We learned that he had most likely acquired it in the late 19th or early 20th century, just a few decades after the piece was made. The fact that he saw fit to acquire this unique example of an African-American face jug shows a developed aesthetic sensibility. The fact that the jug survived all this while undamaged is miraculous.

Further research into the history of the jug led us to two articles from the 2006 issue of Ceramics in America, published by the Chipstone Foundation. In the article titled “Fluid Vessel: Journey of the Jug,” pp. 93-121, John A. Burrison discusses the history of early Southern face vessels made by enslaved African-American potters. He proposes that face jugs like the one we discovered were likely influenced by anthropomorphic clay vessels made in West Africa, the chief source of the Atlantic slave trade.

A related article in the same issue titled “Making Faces: Archaeological Evidence of African-American Face Jug Production,” by Mark M. Newell with Peter Lenzo, pp. 122-138, discusses the origins and use of pottery face vessels. The article states that the larger face jugs were used “as water vessels called ‘monkey’ jugs-after monkeyed, a southern term for the dehydrating effect of the summer heat.”

Small jugs such as the one sold at Skinner have aroused curiosity as to their use, as they were so small that they would not hold much liquid to quench a thirsty person. The Newell and Lenzo article also mentions the 1909 interview by early American historian Edwin AtLee Barber with a South Carolina plantation pottery owner, Colonel Davies, who commented that the small jugs were used by the slaves “for their own purposes,” inferring a connection between the jugs and possible religious or ritual practices.

Although the original purpose of the jug may remain a mystery, the fact remains that it’s a wonderful piece of sculpture with an amazing story. It was one of my personal favorites in the March 4, 2012 American Furniture & Decorative Arts auction at Skinner, and I’m thrilled with the $56,287.50 price realized.

Auction Highlights, Part I: Rare & Desirable American Antique Furniture

You never forget the thrill when great antiques or fine art sell at auction. This post is the first in a series telling the stories behind some of the top highlights in Skinner auctions from the past decade. Through telling these stories, we hope to shed light on where the market has been and where it’s going now.

The Chippendale Mahogany Bombe Chest-on-Chest

American Antique Furniture | Chippendale Mahogany Bombe Chest-on-Chest

This Chippendale Mahogany Carved Scroll-top Bombe Chest-on-Chest sold for $1,766,000 in a 2003 American Furniture & Decorative Arts auction

Extraordinary American antique furniture never goes out of style. The elegant proportions and masterful craftsmanship of a fine piece of furniture in original condition will always attract interest and command high prices at auction.

Just under a decade ago, Skinner made history when we sold an 18th century Chippendale Mahogany Carved Scroll-top Bombe Chest-on-Chest for $1,766,000. This lovely example of the rare American furniture form was made in Boston or the North Shore of Massachusetts, and remained in very fine condition, retaining its old surface and original brasses. Stylistically, the piece most closely resembles one in the collection of Colonial Williamsburg.

The Chippendale Chest was one of the finest examples of American furniture I have found in my years of working in this business, and Skinner was truly privileged to have the opportunity to offer it at auction. It seems only fitting to me that after more than 200 years, it was auctioned in Boston — the city in which it was likely made.

The provenance of the chest is also notable. Family papers verify that the piece once belonged to Robert “King” Hooper, prominent Marblehead merchant and one of the wealthiest men in 18th century America. Hooper, through a series of provident events and strategic decisions, became a powerful force in the colonial fishing industry in Massachusetts, playing a vital role in providing cargo essential to the British “Triangle Trade.” A Loyalist during the American Revolution, Hooper subsequently lost the fortune he had amassed, but in the middle decades of the 18th century, his lifestyle and the home and furnishings he enjoyed had reflected that of British high society across the ocean.

It’s extremely rare to discover a piece of furniture this beautiful and pristine, but I know there are more out there. As an expert American antique furniture appraiser and regular on the Antiques Roadshow, I’m always on the lookout for the next great find. If you have a piece of antique furniture in original condition and would like me to take a look, please call and set up an appointment at 508-970-3299.

Favorite Auction Highlights of 2011, Part II: From Dwarf Clocks to Diamonds

2011 was a great year for fine art & antiques. Here is the second round of picks, and the reasons why we feel these items are important and worthy of recognition.

Read Part I to learn about a record-breaking folk art portrait, a stunning Art Deco bracelet, and a bottle of 1961 Petrus wine.

Antique Dwarf Clock

This remarkable family heirloom had been kept running for 80 years - Stephen Fletcher, Executive Vice President and Director of American Furniture & Decorative Arts

It’s always exciting to discover a beautiful object that is unknown to the collecting world. When I saw this perfectly proportioned dwarf clock on a house call in Beverly, Massachusetts, it was still running, and had been passed down in the same family for 80 years. At the moment we discussed the possibility of selling it, the clock struck twelve.

The clock was made by Joshua Wilder in Hingham, Massachusetts between 1821 and 1824, and is a true miniature of a tall case clock constructed in the same manner, and with a full striking movement. This places it in a category of being the most sought-after and desirable type of dwarf clock.

Mahogany and Mahogany Veneer Dwarf Clock, Joshua Wilder, Hingham, Massachusetts, Auctioned for $189,600 in the American Furniture & Decorative Arts auction on March 6, 2011

Rock Crystal Cup

Truly a royal item, this cup was probably made for the ruling court in the Mughal Empire in India – Kerry Shrives, Vice President, Director of Information & Technology

I love the exquisite carving on this Mughal rock crystal cup. It was most likely made in the 17th/18th century for the ruling court of the Mughal Empire in India, and then embellished in 1867 when the London jeweler Robert Phillips added a delicate gold, enamel and stone mounted foot-rim. The bowl reflects a mid-19^th century fascination with Greek and Roman antiquity. Phillips is known to have visited Rome in the 1850s on a study trip where he viewed period Roman works of glass, gold, and lapidary. Phillips exhibited at the 1867 Paris Exposition Universelle, and it is quite possible that this bowl was exhibited there. My favorite museum, the Victoria & Albert Museum has a number of similar cups in their collections.

Fine Yellow Gold, Cloisonne Enamel, and Stone-mounted Carved Rock Crystal Bowl, Auctioned for $201,450 in the European Furniture & Decorative Arts auction on October 14, 2011

Rare Ornamental Turning Lathe

This machine and collection of tools will provide a lifetime of discovery to a superb craftsman - Robert Cheney, Director of Science, Technology & Clocks

An ornamental turning lathe was primarily a “Gentleman’s” turning tool which could provide a lifetime education for the lucky owner. This remarkable early 19^th century machine and its many accessories allowed an educated owner to perform complex tasks on exotic woods and materials like ebony, teak, rosewood and ivory. This is my 2011 favorite because it is such a rarity to find an ornamental turning lathe with all the numbered accessories and fitted two-part mahogany tall chest. More importantly however, this is my favorite because it was sold to a superb craftsman who will spend a lifetime rediscovering all the attributes that make this machine so special.

Holtzapffel & Deyerlein Ornamental Turning Lathe and Accessories, Auctioned for $65,175 on July 16, 2011

Antique Diamond Necklace

Who kept this in her jewelry box at the turn of the century? - Melissa Riebe, Specialist, Discovery auctions

It’s hard to pick just one, but thinking back on things that really struck me this past year, one is this antique silver and rose-cut diamond necklace. The piece was beautiful in the catalogue, but seeing the necklace in person, I was, in a word, dazzled.

The delicate construction and brilliant stones started me thinking about what sort of a high-society woman around the turn of the century would have had this piece in her jewelry box. Was it a gift from her husband? A fellow member of the elite? A self-indulgent purchase? We’ll never know, but it’s fun to wonder!

Antique Silver and Rose-cut Diamond Necklace, Auctioned for $30,810 on December 6, 2011

Welcome to Crystal Bridges: A Brand New Destination for American Art

Steve Fletcher | Crystal Bridges Museum | American Art

Stephen Fletcher, Vice President and Director of American Furniture & Decorative Arts at Skinner, stands with the painting "Off to Auction" by Doris Lee, at Crystal Bridges museum

When you hear the names Rockefeller, Edward A. Whitney, and Henry Clay Frick, you immediately think about the great cultural and art institutions they gave to our country: Rockefeller University, the Whitney Museum, and the Frick. Now, a new name has been added to the list of institutions made possible through philanthropy: Crystal Bridges.

This strikes me very much as an American tradition: families or individuals who have amassed great wealth reach a point at which they want to give back to the country that afforded them extraordinary opportunities. Alice Walton and Walmart follow in this tradition by establishing the Crystal Bridges museum. The museum is devoted to American art and artists, and admission is free thanks to Walmart’s sponsorship.

I had the opportunity last week to attend the inaugural week opening ceremonies at the museum in Bentonville, Arkansas. In the galleries, fabulous 19th century romantic western landscapes stand in marked contrast to early 20th century modern masters. The range of art is incredible, and there’s a wonderful diversity of style and subject matter. They’ve taken great care to gather quality art by the best American artists, from the 18th through the 21st century. Just a few of the artists represented are John Singleton Copley, Albert Bierstadt, John Singer Sergeant, Norman Rockwell, Childe Hassam and Jackson Pollock.

I was fortunate enough to meet Alice Walton, who was exceedingly gracious and pleasant. She remembered Skinner and the painting we sold which now hangs in one of the galleries: a 19th century portrait of a girl and her dog in a grape arbor. It’s a wonderful painting, and I enjoyed visiting with it again.

I also met Moshe Safdie, the architect who designed the museum. I love the building. It’s a piece of bold and innovative modern architecture that integrates harmoniously into the rolling hills of the surrounding countryside. The superb gallery spaces are connected by pod-shaped arched rooms constructed of glass and wood – the so-called “crystal bridges” after which the museum is named. I asked Moshe, “What is it like to be sitting inside this beautiful room?” He gave two thumbs up and smiled.

On reflection, the total effect of this new museum is sublime. It was a privilege to be invited to participate in the opening, and I’m sure that Crystal Bridges museum will become a popular and important destination for American art lovers, tourists, and travelers.

Crowdsourcing a Collection: Local Voices and Stories at the Concord Museum

by David Wood, Curator, Concord Museum

Concord Museum | Board Chest with Drawer

Board chest with drawer; Sudbury or Marlborough, 1690-1720; Anonymous Gift, Gift of the Cummings Davis Society

In the 1880s, a group of town fathers in Concord, Massachusetts gathered together to assist the pioneering collector Cummings Davis in preserving the remarkable collection of historical Concord material he had been assembling for 35 years. Out of this meeting, the Concord Antiquarian Society—now the Concord Museum— was formed in 1886. Now in its 125th year, the Concord Museum continues to explore aspects of Concord’s history through the medium of its varied but focused collections.

Over the last six months, as part of the Concord Museum’s 125th anniversary exhibition, Crowdsourcing a Collection, local citizens, historians, teachers, artists, public servants, sister institutions, and five voices from Concord’s past have chosen objects from the Museum’s collection that held meaning for them. Their responses are varied, but all are history in the first person.

Eight-day clock; Daniel Munroe (1775-1859), case by William Munroe; Concord, about 1800; Anonymous Gift, Gift of the Cummings Davis Society

Miguel Gomez-Ibanez, director of the North Bennett Street School and a furniture maker, zeroed right in on the lock on a Sudbury area chest with drawer and noted the cascade of effects that the placement of the hardware had on the overall design. The maker walked his applied molding around the lock, then repeated the rectangle this formed to make the single drawer look like two. This rectangle also has the same proportions as the entire piece, achieving a very satisfying composition through a strict economy of means.

Skinner’s own Steve Fletcher recognized an old friend in the splendid Daniel Munroe eight-day clock. Steve recounted the breathless moment when he stopped the pendulum to remove the clock from the home for auction. In the ensuing silence, he heard the owner state that in the more than sixty years she had known the clock, it had never before stopped running.

The honorary curator of the exhibition, historian Doris Kearns Goodwin was drawn to a group of objects associated with the North Bridge of April 19, 1775 fame. Goodwin found evidence in these objects of the power to convey the experience of times and places removed and remote. For example, one wonders who ate from this plate during the dinner E.R. Hoar gave for President Grant on the occasion of the centennial of the North Bridge battle depicted in its well?

Weaver and environmentalist Rosita Corey lighted on a bundle of pencils made by William Munroe in the 1840s. William Munroe lived in the 18th century house she herself has lived in her whole life, and made pencils (these very pencils?) in the attached shed. Interestingly, this is the same William Munroe who made the case on the clock Steve Fletcher admired.

Concord’s distinctive past has repeatedly demonstrated that individuals making real-time decisions one-by-one create history.

Visit Crowdsourcing a Collection, opening on Saturday, October 22, 2011, to discover for yourself how individuals create new meaning by responding thoughtfully and personally to historical objects.

Dinner plate; Worcester Porcelain Manufactory, about 1875; Gift of the Cummings Davis Society

Pencils with label; William Munroe (Monroe) (1778-1861); Concord, about 1840; Gift of Mr. Charles P. Munroe and Mr. William M. Munroe

Daguerreotypes Part II: Highlights of the Early Photography Collection of Rod MacKenzie

Lot 94: Half Plate Daguerreotype Portrait of a Seated Union Officer in Dress Uniform, Est. $1,500-2,500

On October 30, 2011, Skinner will offer the first part of the Early Photography collection of Rod MacKenzie in our American Furniture & Decorative Arts auction. Read Part I of this series to learn more about Rod MacKenzie’s sophisticated taste as a collector.

MacKenzie’s extensive knowledge of American history, particularly of the Civil War, is represented by dozens of extraordinary images of military officers and soldiers. The collection includes portraits of soldiers of all types: officers, dashing men in uniform, and heart-breaking images of very young men headed off to war. In looking at these images, we feel tantalizingly close to the battlefield and to the figures taking part in military history. Notes tucked behind case liners, such as “taken at Newbern, No. Carolina 1863 WLW Private C. E. 44th Mass,” bring us in even closer.

Another focus of the collection is photography of children being children in ways we aren’t used to seeing in 19th century photographs. One highlight is an image of a class of thirty children attending “Petersham School in Miss Laura’s Day.” We must credit the photographer for keeping the kids still during the exposure, though perhaps more of the credit is due to Miss Laura herself.

Rod found a pair of photographs showing a sweet-faced boy and a girl, probably twins, seated in the same stencil-decorated chair. He has an image of a girl holding a chalkware cat, and another of a boy with his paint-decorated drum – both subjects hold their cherished possessions close.

Lot 23: Two Sixth Plate Daguerreotype Portraits of A Boy and a Girl, probably twins, Est. $300-500

Rod made an effort to collect images of leisure activity, too, giving us even more opportunity to peer through a window into the 19th century. There’s an image of two men playing checkers housed in a Union case appropriately called “The Chess Players.” An ambrotype of four men, one wearing a military cap, holding mugs of beer, allows us to view a moment of revelry. A half-plate daguerreotype of hunters posing with game and their hunting dog represents the type of artistic composition that daguerrians often practiced. In another, a gentleman hunter with a stovepipe hat and a frock coat poses with his long gun against a painted backdrop representing a rural landscape, all housed in a case called “The Hunter.”

Lot 137: Half Plate Ambrotype Depicting a Whitehall, New York, Street Parade with Band, Est. $800-1,200

City- and townscapes, another category in the collection, are represented by some rare early photographs of mid-19th century houses including a gothic cottage, a Greek revival farmhouse, and a three-story Federal mansion. Perhaps rarest of that group is an image showing a street parade in Whitehall, New York.

Many of these sometimes haunting photographs are housed in rare thermoplastic or “Union” cases, each collectible in their own right for their unique designs. To create these cases, a specific mix of shellac, pulverized wood fibers and dyes would be heated to create a thick plastic liquid. That semi-solid was rolled out into a sheet, then individually pressed into any one of dozens of patterns which hardened when cooled. Half-plate examples of these thermoplastic cases in the collection are titled “Washington Monument, Richmond, Virginia,” “American Country Life – Summer Evening,” and “The Wedding Procession.” Others show firefighters, military trophies, and more.

In all of Skinner’s years in the business, we’ve crossed paths with and offered hundreds of early photographs. Rarely have those images equaled the quality and beauty of the pictures Rod found, or given us such insight into the people they show.

Daguerreotypes Part I: Haunting, Beautiful, and Storied Pictures in the Early Photography Collection of Rod MacKenzie

Lot 113: Half Plate Daguerreotype Portrait of Two Hunters with Game and Sleeping Dog, Est. $1,500-2,500

Daguerreotypes are a reminder of a time when photography was very different from the “point-and-shoot” instant pictures of today. Now, you carry a camera in the cell phone in your back pocket everywhere you go. Then, as now, photographers were purveyors of state-of-the-art technology.

In fact, the 19^th century photographers who made these long-exposure images were referred to as daguerrean artists, and quickly supplanted the portrait painters of the day. The artists’ “images,” particularly daguerreotypes, were valued for their clarity and honesty in representation.

Other than the careful arrangement of a composition, the daguerrean photographer almost never altered an image in any way, except for portraits with pink-tinted cheeks, or gold-highlighted jewelry and buttons.

Lot 103: Ninth Plate Ambrotype Portrait of Man Pouring a Milk Can, Est. $100-150

Daguerrean artists did, however, use interesting means to achieve compositional effects that would otherwise be limited by long exposure times. In the ambrotype pictured here, depicting a man pouring milk from a pitcher, the “milk” is actually a white cloth.

The long exposure times needed for daguerreotypes and other forms of early photography also cause families, soldiers, children, and laborers to look out from stiff, unsmiling poses. It could be a long and strenuous task to sit for one of these images. Yet, if you look closely, the lives and loves of the subjects become clear, and the 19^th century doesn’t feel quite so distant.

On October 30, 2011, the American Furniture & Decorative Arts auction will open with 150 lots of daguerreotypes, ambrotypes and tintypes from the Early Photography collection of Rod MacKenzie.

As a collector, Rod MacKenzie has a sophisticated taste for images that speak to him – and now to us – emotionally, historically, and artistically. He understands well the limitations of early photography, and carefully collects images which, though mainly portraits, show us more than just what the sitter looked like.

Lot 17: Sixth Plate Ambrotype of a Boy with His Drum, Est. $600-800

There are signs of life throughout the images in his collection – children holding toys close, workmen demonstrating tools of their trade, and soldiers exuding confidence and swagger.

In addition to the portraits, MacKenzie collects images that tell stories. Among the best of these is a set of so-called “occupationals.” There are dozens of images that convey a strong sense of narrative: portraits of beautiful, elegantly dressed women give us a window into the day’s style; prosperous young couples exude airs of optimism; and men show their skill at their daily occupations. This group includes some of the rarest examples MacKenzie gathered: an architect seen in his office at a desk with his drafting tools and elevation drawings of Italianate houses on the walls behind him, a blacksmith at his anvil, a mailman, farmers, a banjo player, a string quartet, a bugle player, carpenters, buggy drivers, and firemen.

In Part II of this series, we’ll take a look at some of the highlights of this truly astounding collection. Every time I turn a page in the catalogue, I seem to find something new in one of these images that I hadn’t seen before. Which images speak most strongly to you?

Occupationals

Three Tales of Tragedy: American Antique Furniture Lost to Refinishing

A few months ago, I wrote a blog post titled “Welcome to Grunge School: Where you Learn to Leave Original Surface Alone.” Those of us who have been immersed in the antiques world our whole lives all know horror stories of wonderful relics that were lost to naïve or over-exuberant refinishing or repainting. Here is a story that was left as a comment on my blog post. It makes me cringe to read it:

The Cherry Sugar Chest and the Friendly Gesture

This example of a blanket chest with original paint-decorated surface is Lot 441 in the October 30, 2011 American Furniture & Decorative Arts auction.

“Unfortunately, this reminds me of a very nice, all original cherry sugar chest I once owned. Being in the deep South, I was pleased to acquire it MANY years ago for under $100. It had nicely turned legs, great patina, a secret interior locking drawer, etc. The only problem was a missing breadboard end on the top. So, after some years I took it to a “craftsman” who had been in the antiques business for many years, and who ran the shop for a long-time major dealer. Unfortunately, this dealer had a habit in the 1960s and 70s of refinishing much of his furniture. Guess that’s why he had such an active shop. It was a much more accepted practice then and the public seemed to be OK with it. My craftsman friend had retired and ran a little repair shop of his own. I left the sugar chest with him to have a breadboard end created and then went to pick it up several weeks later. I nearly fainted and was momentarily speechless when I saw it. He proudly announced that because of our longtime friendship, he had refinished it for me… at “no charge!” What can you say at that point? He was taken aback that I obviously wasn’t thrilled. I was so numb with disbelief that I don’t even remember what I said. Needless to say, I never viewed the chest with the same feelings, and finally sold it rather than forever being reminded of this sad event.”

Don’t Buy That Queen Anne Dining Table

After I mourned the loss of another beautiful antique in original condition, I started to think back on other stories from my years as director of American Furniture & Decorative Arts at Skinner. I remember one time at an auction preview, a woman asked me about an old Connecticut Queen Anne dining table that still had its original black painted surface. She wanted to know what wood the cabinetmaker had used, and was rather incredulous when I told her I thought it was cherry, but I wasn’t sure.

Despite my attempts to explain that the black-painted surface was quite extraordinary, she still didn’t like how it looked and thought the table should be refinished. Finally, I told her, “You don’t want this table and you shouldn’t buy it,” which might have slightly offended her. At least she didn’t buy the table, and to my knowledge it remains untouched.

The Perfect Family Heirloom

This grain-painted chest over two drawers, lot 459 in the October 30, 2011 American Furniture & Decorative Arts auction, still has its original paint.

Another story that didn’t end so well was told to me by a late dealer I knew. He had gone to a furniture refinishing warehouse, and in the room where they dip the furniture in lye, he saw a mid-18th century Queen Anne dressing table. It had a fan-carved drawer, and original, untouched, red-painted surface.

He couldn’t believe someone would refinish such a treasure. He asked for the name of the people who had left it to be refinished, hoping he could talk them out of making this mistake by explaining the true nature of the piece they had in their family.

However, his comments to the owners fell on deaf ears. They thought the dressing table looked terrible, saying it was an heirloom that would never leave their family. The dealer then had the unfortunate and completely coincidental experience of going back and seeing the piece looking brand new.

Tragedies like that one still happen. Do you have a story to share? Leave a comment below.

Our next American Furniture & Decorative Arts auction will be on October 30th. Thankfully, there are still American antiques out there that haven’t been touched, and you can view them during our auction preview in Boston.

Top 5 Fine Art & Antiques Blog Posts of the Summer

It’s hard to believe that summer is already over. In the midst of vacations and appraisal house calls, Skinner antiques & fine art experts found the time to write intriguing and informative blog posts. These are the top 5 most popular articles from June, July, and August. Read them for the first time or enjoy a re-read, then join the conversation by leaving a comment.

#5 Pointed Caps and Silver Hat Bands: Intriguing Finds in an Important Penobscot Indian Collection

by Douglas Deihl, Director of American Indian & Ethnographic Art at Skinner, Inc.

The rare peaked cap you see here was once worn by the Penobscot woman Mary Molasses. The cap is part of Dr. Frank T. Siebert’s extensive collection of Penobscot Indian material, which has been exhibited in museums and will be offered at auction on September 24th.

#4 How to Decorate with Art Deco Glass

by Jane Prentiss, Director of 20th Century Design at Skinner, Inc.

This summer, Jane Prentiss began a series of blog posts about the mid-century modern period, great design, and decorating with antiques. Which of the four Art Deco vases pictured in this post do you love most, and where would you place it in your home?

See the Vases

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#3 Why People Want More Fashion & Jewelry at Museums

by Gloria Lieberman, Vice President and Fine Jewelry expert at Skinner, Inc.

It seems as if fashion and jewelry are among the new trends for museums. The Alexander McQueen exhibit drew huge crowds in New York, and the Museum of Fine Arts in Boston became one of the first museums to devote an entire gallery and curator to Jewelry. Gloria Lieberman writes, “It can inspire your own wardrobe and fashion choices, and that’s one reason these exhibits are so popular.”

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#2 Antique Weathervanes, Part I: Horses, Roosters, and Cars… Oh My!

by Stephen Fletcher, Vice President and Director of American Furniture & Decorative Arts at Skinner, Inc.

A veritable menagerie of weathervanes was available at the August 14th American antiques auction. Horses, roosters, cows, fish, stags, and more caught the attention of folk art collectors. Stephen Fletcher writes, “Collectors are most attracted to antique weathervanes that still have their original surface, and these are the most valuable weathervanes.”

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#1 Selling Antique Books, Part I: How to Tell a Rare Book From an Old Book

by Stuart Whitehurst, Director of Books & Manuscripts at Skinner, Inc.

Do you have a ton of old books? Old books aren’t necessarily rare books. These three tips will help you start to sort out those that are potentially valuable. When you’ve finished this post, read Part II for eight more tips on what factors influence a book’s value.

Read Part I

Auction Punk!

Beats the odds and get the deal!

Category Archives: Stephen Fletcher