auctions

Normally I avoid the girlie jewelry cases because I lack deep pockets and I fear having my heart broken. But this Saturday at the auction was different. Not only did I look, linger, and love, but I won a number of beautiful pieces, including several antique purses.

One of the pieces was something I’d only known about, never really seen, so it was like a dream come true: this metal mesh bag.

Antique Metal Mesh Bag

When I first spotted the round top above the pool of slinky metal mesh in the locked glass jewelery case at the auction, I wasn’t quite sure what it was — but I knew I wanted it! When it was held up for auction, I only wanted it more. When I won it I was bare able to contain myself. I won something from the locked jewelry case! And for a paltry $12 yet.

But I still wasn’t sure exactly what I had…

While the round ornate embossed top (complete with blue ’stone’) suggests a compact, there are no compartments for makeup; just a mirror inside the lid, where unfamiliar markings lay.

Armor Mesh Mark By Mirror Inside Vintage Mesh Bag

Marked only with “armor mesh” and an ‘M’ in a diamond trademark between the words (so “armor M trademark mesh”), it took me some time to identify the maker; ‘Armor Mesh’ produced meaningless search engine results, so I needed more info to narrow it down.

Because of it’s long cylindrical pouch (4 1/2 inches of metal mesh hanging from the lid), I thought it might be an Chatelaine purse. Further investigation shows otherwise. As noted in Ladies’ Vintage Accessories by LaRee Johnson Bruton: “Chatelaines can be differentiated from other types of purses because of the hook attachment (see left photo on page 227).”

Illustration Of Chatelaine Hook Attachment, p 227 Ladies' Vintage Accessories

This in and of itself wouldn’t be of much help to identify my mesh bag, as it is missing it’s chain and so I cannot see if it ever had hook attachment. So I continued researching, trying to narrow down the period from which this purse came.

This mesh bag also has plenty of roaring 20’s style, including the Art Deco influences, and this was the time that small purses were becoming vogue. From Antique Personal Possessions:

Metal mesh bags and purses were used at the end of the century; and in gold or silver, as evening bags until well into the 1920s. Before the twentieth century, evening bags or reticules were seldom used — what with wielding fans, bouquets and dance programs it would have been difficult. Though make-up was, if not the rule, at least a very frequent expectation, it was certainly not done to repair one’s face anywhere but in the privacy of a bedroom, and there was therefore little need of a case to carry powder and lip rouge. But as soon as making-up was no longer supposed to be secret, and running repairs were considered necessary during the course of an evening, then, of course, a suitable container became a matter of importance…

Eventually identifying the maker mark as that of Mandalian Manufacturing Company North Attleboro, Massachusetts, I was able to discover a bit more. Sahatiel G. Mandalian worked with at least two partners (Casper and Mandalian , then Mandalian & Hawkins; first producing jewelry and novelties, then mesh bags) prior to 1915, but it wasn’t until 1915 that the Mandalian name was incorporated on its own and so I would imagine the trademark was assigned at or after that date.

So from all this, I’m guesstimating this vintage cylindrical mesh bag to be circa 1915-1930.

Armed with some good words to put into search engines, and hours to exhaust myself searching all the possible combinations of words and names, I set out to find a relative of my Mandalian armor mesh bag.

Searching for Mandalian mesh bags or purses didn’t help me immediately find a similar looking mesh bag; I consoled myself by learning about the history of the Mandalian Manufacturing Company and the history metal mesh bags in general.

But eventually I found some old mesh bag relatives — though none are identical. In this case, the seller incorrectly attributes this Armor Mesh blue & silver tasseled mesh bag to Whiting & David ($195).

Art Deco Armor Mesh Bag With Tassel

This vintage Armor Mesh purse has a lightly different top — note the different way the top secures (but still with a faux blue gemstone!).

Vintage Armor Mesh Greek Key Flapper Metal Mirror Purse

Vintage Mandalian Armor Mesh Purse

This Burchard Galleries listing of a past auction for a Chatelaine Armor Mesh Bag, “Adorned with floral motif, many decorative drops, hanging adornment,” item 133C (sold for $175 in 1998) can’t be seen, but the use of ‘Armor Mesh’ would indicate the mesh bag was made post Chatelaine days. (I mention this not to be snarky, but to point out that even experienced sellers can make mistakes — and that I, possibly, wasn’t a complete idiot to think my vintage mesh bag was a Chatelaine purse.)

And this R & G mesh compact purse has a sterling silver top with enameling — and a whopping $1,250 price tag.

Antique R & G Mesh Compact Bag, Sterling & Enameled Top

Antique R & G Metal Mesh Compact Purse

Because we arrived to the auction after bidding began, I hadn’t the time (or the access) to properly view the items in the case, and so my antique mesh bag isn’t perfect.

Considering that many mesh bags were lost during WWII when they often wound up substituting for unavailable metal scouring pads, I’m just thrilled to have one at all! Besides, all these things can be quickly and properly repaired, restoring this antique mesh bag to its near-original beauty.

Metal Mesh Can Be Repaired By Sliding The Armor Back Onto The Rings

• It’s missing it’s chain; easily remedied by a purchase from a reputable antique purse restoration professional.
• A few pieces of the metal links have slipped from their rings; easily slipped back in place by hubby — or a jeweler could reset them (approximate cost for sliding 15 pieces back into place $35).
• The mirror inside the lid could be re-silvered; but I’ll leave that along with the over-all tarnish for it’s authentic charms that serve as proof of its age.
• The lid needs a ‘lip’ to securely close it (latching over the round blue jewel); now that I’ve seen similar tubular mesh bags, I can show a photo to my jeweler and can craft a replacement for $15 or $20.

Overall, I’m still flipping my lid over this unusual antique mesh bag I scored for $12.

Ornate Embossing On Mandalian Armor Mesh Bag

If you’re looking for more on mesh, the largest mesh handbag collection
to come to auction, the Dennis and Terri LaMothe Collection, will be featured in the Collect.com Collectibles Auction that runs from November 23 through December 12, 2009. Amazing, stunning, mesh bags! The eight-page PDF auction catalog is available too. I didn’t see anything listed quite like my mesh bag; but then I’ll admit, I don’t know everything about these beauties. (But I’m oh-so willing to learn!_

Cover your tween’s eyes and ears, because what I’m about to discuss isn’t going to please millions of Twilight fans and vampire fanatics… While the current vampire mythology has twisted the creatures into romanticized objects of love, the original lore dictates the killing of them — the proof of which is up for auction on Halloween at Stevens Auction Company: an authentic antique Vampire Killing Kit.

Antique Rosewood Box Containing Vampire Killing Kit

Inside the beautiful Rosewood case with mother of pearl cross inlay there’s an assortment of items to deal with the undead, including a cleaver, prayer book, Holy water vials, looking glass, silver occult dagger, candles, what looks like some wooden stakes, and a pistol with silver bullets in an ornate coffin case.

Antique Vampire Killing Kit

It’s a stunning display of craftsmanship, yes; but what really fascinates is their existence at all.

These are expensive kits, made for the wealthy; not some cheap and cheesy plastic novelty items. Such luxury concedes a seriousness — a deadly seriousness. These items were made to address deep, dark, primal fears. And then, like our fears often are, they were not thrown away but stored in equally dark and out of the way places… Antique wooden killing kits in the attics of old houses, just waiting for the day when the creatures creep from the attics of our minds.

Vampire Killing Kit, Dating To 1840-1860's

Fascinated, I spoke with Dwight Stevens, of Stevens Auction Company, on the phone yesterday about the antique piece of vampire history.

“I don’t believe in vampires — I’ve never met one. But somebody believed in them, something drove people to believe… From New Orleans to Vicksburg, these old boxes remain.” Stevens has sold four vampire killing kits in his 27 years as an auctioneer, most recently selling one a year ago, in Natchez, Mississippi, for $14,850.

Walnut Case Vampire Killing Kit, Circa 1800, Sold For $14,850

The selling of that boxed kit for ridding oneself of vampires garnered international interest. Wistful buyers from all over the world, as well as bloggers and traditional media folks, contacted the auction house. And they continue to contact Stevens. Recently one person asked Stevens how he came to be an authority on vampires — he laughed, he’s not an expert on vampires. “But,” I said, “you are an authority on vampire killing kits.”

While I think the finding and selling of four of these old superstitious boxes of death is amazing, Stevens contemplates the small number of them which have survived, saying “Maybe the vampires got them.”

Or maybe all the collectors have.

“We contacted Anne Rice about the one we had last year, but we never heard from her; she must be retired,” said Stevens with an audible shrug.

“Or maybe she already has her own kit and she’s all set,” I replied.

More likely, Rice knows what I do: Vampires do not die; real or not, they live on in our obsession with them.

The Vampire Killing Kit, part of at Miss Isabel’s estate, is up for auction in Port Gibson, Mississippi (27 miles South of Vicksburg) on October 31, 2009, by Stevens Auction Company. Reserved seating and phone bids are welcome with advanced arrangements.

This past week, a big scam was been brought to my attention. This one is older than Nigerian princes to adopt.

In this particular case, it’s a matter of fraudulently selling items, claiming they have been owned and/or worn by celebrities — usually dead celebrities. Dead celebrities are selected for their popularity, the now limited number of available items, their inability to deny owning items, and because bidders are more likely to be sentimental or emotional about such items.

I’m not going to get into the particulars of this specific case, but it’s a good time to point out some tips in evaluating the authenticity of items — not just in celebrity items, but in any category.

COAs or Certificates Of Authenticity

Most COAs are not worth the paper they are printed on. Anyone with a pen and/or a printer (the printer isn’t even a requirement) can make a COA — and there are no laws, governing bodies or agencies which approve or regulate COAs. So I could make you a COA about this blog post — no matter how ridiculous the claims. (If you’d like one, let me know.)

COAs are not legal contracts; so no matter what the guarantee presented on the COA, good luck getting it carried out to any satisfaction. Should you even be able to get a legal hold on the seller, your case is as legally worth bupkiss. Even if you can prove the seller is guilty of selling more than $1,000 in fakes &/or forgeries, are involved in a successful class action suit, or, if you were duped on the Internet, get the FBI to assist you with a case of Internet Fraud, the most you’re going to get back for all your work is your purchase price. (If you’re just seeking your purchase price refunded, don’t ignore sales venue and method of payment avenues; there are often buyer protection programs available to you.)

I’m not saying you should ignore your rights and these avenues, but it’s best to avoid being duped in the first place.

Rule #1 Unless a certificate of authenticity originates from and is signed by the celebrity, author/artist (or in the case of limited editions, the publisher of the work), a confirmed dealer or agent (not a third party or reseller), or an acknowledged expert, that certificate is pretty much meaningless.

In order to verify the information is accurate, your first step is to see the certificate. Online or in person you need to see the certificate — all of it, front and back.

Despite the ease with which COAs are made, it’s amazing the lengths sellers will go through not to show them — even when they mention them. Shifty online sellers will tell you that they don’t show them because they “don’t want others to download the images and use them” — which is a laugh because 1) COAs take about as much work to make as downloading and uploading images does & 2) the seller can upload them to the Internet with a watermark or text identifying their company name/seller ID to protect the image.

In any case, clear, legible, digital copies of the COA should be sent to you for your review via FAX or email. And review it you will.

Verify that the COA originates from and is signed by the celebrity, author/artist (or in the case of limited editions, the publisher of the work), a confirmed dealer or agent (not a third party or reseller), or an acknowledged, respected expert.

A valid COA will state that the art is unquestionably from/by the celebrity/artist/etc. who has signed it & should contain provenance — a documented chain of custody, proving it is genuine. Any conditional statements like “we believe” or “it’s our considered opinion” or “we feel satisfied in saying” or “to the best of our knowledge” are warning signs.

Provenance

Any provenance listed or claims made, in the COA or item listing, should also be seen. Anyone can drop names, such as it came from such-and-such’s hairdresser or whatever; typing that takes even less work than making a COA.

If the seller mentions any “proof”, such as letters from the hairdresser or claims that the item was part of the official estate auction, this should all be seen and evaluated. Again, these scans or photos should be legible so that you can — and will — verify them. Remember: it’s as easy to type things in a printed letter as it is in a listing.

Sellers/Dealers

Research the seller carefully.

Check with the Better Business Bureau. And if/when they mention they are members in organizations, check with the organization. Many organizations have their membership lists available online; you can also have organizations confirm (or deny) members in good standing via email &/or phone. (And if a seller uses such memberships when they are not members, the organizations may take action themselves.)

When they call themselves experts, ask them to prove it. What credentials do they have? Expert titles such as “film historian” and even “author” are often self-appointed titles.  Contact known experts in the field and ask if they’ve ever heard of your expert.

Be Realistic

Yes, we’ve all seen Roadshow; we know gems can be found in people’s attics etc. But honestly, if you knew you had Marilyn Monroe’s lingerie, wouldn’t you contact an expert to handle the sale?

If you know how to list an item for sale online, you know that Christie’s specializes in celebrity items — and that their reputation and expertise will bring in the Big Bucks. Certainly, even with their fees, you’d get more from selling an authentic item via Christie’s than you would online by yourself. So why wouldn’t you let Christie’s sell it for you?

The only reasons you wouldn’t are either because A) you are a recognized & trusted expert (which means people in your field know about you — and all those calls to verify you as such would be confirmed) or B) because you couldn’t get Christie’s or another reputable auction house to sell the item for you.

And why would a reputable auction house refuse? Because there is no proof, no provenance, to go with the claims made about the item. Reputable auction houses will neither sell nor promote an item if they cannot prove provenance.  That’s their reputation, their credibility — the reason why they’ve earned the trust to get Big Money Bids.

So when you see or hear about celebrity owned &/or worn clothing, autographs, and other unique and valuable items — celebrity related or not — think before you bid or buy.  And for heaven’s sake, don’t let those three letters, COA, sway you from being an aware buyer.

This is a collector’s Christmas story (not to be confused with A Christmas Story — watch it for 24 hours on TBS) which sort of reminds me of The Gift of the Magi — only it involves spaceships and Christmas lights. About 650,000 Christmas lights, to be more precise.

With 17 wooded acres to cover in holiday lights, collector Stuart Ellis found himself in need of funds for both the lights and the juice to run them. So he decided to sell the 82-inch diameter hero “United Planets Cruiser C-57D” flying saucer filming miniature built for the groundbreaking 1956 sci-fi flick Forbidden Planet and used in six episodes of The Twilight Zone before MGM auctioned it off in 1970s.

Forbidden Planet Spaceship

The Denver Post reported that Ellis bought the spaceship for just $150 and that auction company Ellis was using, Profiles In History, predicted the filming miniature would bring $80,000 to $120,000, because, as Joseph Maddalena the chief executive of Profiles in History argued, the significance of this long-lost spaceship cannot be overstated.

“‘Forbidden Planet’ and other 1950s science-fiction films literally were the launchpad to get us into the space race,” he told me. “People were fascinated with outer space. All this led to us going to the moon.”

Unable to comprehend selling such a fantastic piece for the temporary glow of Christmas lights (no matter how real the possibility that the mass of them could likely attract real flying saucers), I had to at least know what Ellis’ sacrifice netted him.

I called auction house Profiles In History and spoke with Client Relations & Acquisitions director, Brian Chanes, who has been with the company for 18 years.

“You don’t know Forbidden Planet?!” he asked me obviously filled with amazement that I would call — perhaps even that I could execute a call — yet not know about Forbidden Planet.

United Planets Cruiser C-57d Flying Saucer

“The Day The Earth Stood Still ushered in the modern era of sci-fi…” he began. He was so nice about my ignorance that I half-apologized half-excused myself with a, “My husband would know, I assure you… I’m more of a book person when it comes to sf…” He paused a minute; probably feeling sorry for me. “You know Robby the robot from Forbidden Planet, don’t you… from The Invisible Boy?”

Robby the Robot from The Invisible Boy

Neither of us was comfrotable with him asking me.

And the truth is, while I did ’see’ a robot in my head, it turns out I was envisioning B-9 from Lost in Space — which the auction house has also sold (for $264,500).

The Lost In Space Robot B-9

Anyway, Chanes told me that Ellis’ spaceship sold on December 11th for $74,750. Now properly educated on sci-fi movie memorabilia, I’m sure the new owner is thrilled with his bargain — that collector must have wanted it like Ralphie wanted his Red Ryder air rifle.

And I hope Ellis is thrilled with his holiday spectacular of lights; otherwise, it’s too much like Della’s hair being sold to buy a chain for the watch her husband sold to get her a hairbrush.

I’m pretty sure all you collectors know Wes Cowan from 13 years appraising on Antiques Roadshow and six years as a History Detective. Many of you might also know that he was raised in a household filled with Victorian antiques by a mother who liked all things “old” and that he turned his love of “old” into degrees in anthropology and archaeology; eventually teaching and then becoming Curator of Archaeology at the Cincinnati Museum of Natural History. But what you might not know is that Cowan has always been a collector.

As a child Cowan collected fossils, arrowheads, and china plates; as a young man in college, he collected antique photographs. In fact, if it weren’t for a passion for collecting he might never have become “Wes Cowan, Auctioneer,” let alone a regular on those TV shows. After 15 years of collecting photographs, Cowan had amassed what was, at the time, the best collection of Frank J. Haynes photographs & stereoviews — which he (somewhat painfully) sold to start his business.

When we met Cowan briefly before his Thursday night lecture, part of the Plains Art Museum’s Trash or Treasure event, it was really clear that his passion for collecting isn’t just some front to appease collectors or fans of the shows. Within the first few minutes the talk turned quickly to collecting. Not just asking us what we collect, but making an off-hand comment that he’s been kicking himself for not starting a collection of hotel door key cards earlier. It’s just the sort of comment you’d expect a traveling collector to make.

Once he began his talk, Cowan focused on the appeal of History Detectives. He said that the show “taps into our inherent interests in the history of our country and the history of our families.” His enthusiasm for collecting and understanding of collectors was clear as he talked about how objects hold stories and how collectors should think of themselves as curators. (In my notes I wrote, “It’s like Wes reads my columns!”)

When discussing History Detectives, Cowan winced and ducked from imaginary tossed tomatoes as he told us that none of the stars of the show do the research. He explained that they may suggest objects and stories they run across but it’s the producers who select the objects & then assign them to the show’s researchers. Working in pairs, researchers have six weeks to do the research. From this research, a loose script or story lay-out is created, allowing the History Detective to provide off-the-cuff narration — including the inclusion of new or changing information as it comes in. Each History Detective then has three days to be filmed telling the story, with two days of travel. (With so much travel, it’s no wonder Cowan laments not starting that hotel door key collection earlier.)

Cowan feels honored to be a part of the show, saying, “It’s a privilege to be invited into homes & stories and to go & do what others can’t.” Watching him say it, there’s no doubt of the sincerity of his words.

Antiques Roadshow production has far more of a family atmosphere among the appraisers; not just because he’s been a part of the show for twice as long but because he and the other 75 appraisers work together at each show. And boy do the appraisers work at each show. Even if each city Roadshow visits airs as multiple episodes, it all was taped in one day. That means 75 appraisers work with 7,500 people — each one bringing multiple items — all in one day. None of the appraisers are compensated in any way for participating in Roadshow — flights, food, hotel etc. is all paid for out of each appraiser’s pocket. Each appraiser does it for the fun and exposure. Or I should say for the potential exposure. For while there are 12 million viewers, there is no guarantee that any appraiser will have a taped segment. As appraisers run into great stories, they have to make a pitch about being filmed to producers. If they make a strong enough case, they may get air time; if not, they’ve paid for the trip, done an exhausting day’s work, all for naught.

Well, almost naught…

Appraisers are allowed to set their cards and literature on tables. However, they are absolutely forbidden to solicit business. This includes verbally giving out their contact information. Cowan tells the story of a lady who asked how to contact him. He replied that he couldn’t say, but mentioned where his card could be found. When she stated she was unable to read the print on his card, Cowan told the woman she would need to get her granddaughter to read the card because he was forbidden to read it to her. That’s pretty strict; but just goes to show you how ethical Roadshow is.

As for his “day job” as auctioneer, Cowan says the business has changed a lot. “Farm auctions are no longer lucrative,” he said, and, “Sotheby’s & Christie’s have proven that auctioneering is all about marketing.” And he addressed the impact of the Internet too.

Within 5-7 years, eBay and the like have quickly shown that “rare” is indeed a relative term based on dealer opinion &/or experience. Once “rarely seen” things were shown for the readily available stuff they were, and the prices for low-to-middle end antiques & collectibles dropped drastically. However, the accessibility of the Internet has assisted those searching for scarce items, likely bringing stronger auction sales for high end antiques and art. He also said the accessibility was a good thing, allowing people to find objects, connect with other collectors & collecting groups, as well as research more easily.

On Friday, before the VIP Trash or Treasure dinner, we had yet another opportunity to talk privately with both Wes Cowan and his colleague, Danica M. Farnand, a specialist in American Indian Art. We have lots more to share from those conversations, but for now we’ll leave you with the one question that every collector & watcher of History Detectives wants to know: What are their favorite resources for research?

Farnand first mentioned Google, then added that she most often uses the Burke Museum database, as well as the Smithsonian database, AskArt.com, and Peabody’s database (but added that it was a bit difficult to use). Cowan added ArtFact.com, Prices4Antiques, Ancestry.com, ABE.com, CivilWarData.com, and The Library of Congress’ American Memory Historical Collection to the list. He also said that more and more universities and museums are adding their archives online, so the resources would only be growing.

Skeptical that they were hiding something, like secret databases and clandestine meetings in private libraries off limits to the average collector, we pressed a bit. “On History Detectives you have a lot of access to archives and libraries of organizations… Do average collectors have such access?”

“In my experiences, as a collector, researcher and auctioneer, I’ve found archivists & librarians are always anxious to help,” he said.

“Even if you’re not a History Detective?” we asked.

“It’s not like a librarian’s ever going to tell a researcher to go away,” he added, laughing. Then he leaned in, grinned and conspiratorily added, “But being a History Detective doesn’t hurt!”