Little Girls Love To Sew
BOOK REVIEW
For as far back as anyone can remember, little girls were taught to
sew just as soon as they were capable of holding a needle. In the
very early years, they used the same tools their mothers, aunts or
grandmothers used, although they were sometimes modified to child
size.
By
the late 1800s, sewing machines had been invented, and it wasn’t
long before they were miniaturized and introduced into toy catalogs.
By
this same time, children’s sewing sets had also been introduced and
little girls could make doll clothes for their dolls. Most of these
sets came with a doll, patterns, fabrics and sewing implements .
These sewing sets, along with other children’s sewing collectibles
such as sewing cards, needlework sets and patterns, are the subject
of the Encyclopedia of Children’s Sewing Collectibles, by
Darlene J. Gengelback, a 2007 publication of Collector Books. The
book includes extensive background information and a value guide.
The Encyclopedia of Children’s Sewing Collectibles, ISBN 13:
978-1-56432-526-3, is priced at $24.95. It is available from
Collector Books, PO Box 3009, Paducah, KY 42002.
Donna Miller
Return to Index |
Rinker Book Details What You Can Do
With Your Stuff
BOOK REVIEW
Over a lifetime, it’s quite easy to fill a home with more than just
memories. The distribution and disposal of those accumulated
objects, on the other hand, is not so easy. Collectibles expert and
professional appraiser Harry Rinker has written a new book, Sell,
Keep, or Toss? Making the Most of a Lifetime of Treasures, to
ease the difficult personal, financial and familial decisions
involved in clearing out a house.
The book is divided into five parts. The first deals with how
secondary market value is determined. One of the hardest issues to
deal with is separating sentimental/ family value from marketplace
value. However, there are several other factors also to be
considered.
The second covers some of the basic - and thorny-issues that must be
faced before the actual process of selling, keeping and tossing
begins. Making a plan and determining who will be in charge of
implementing the plan are the starting point. Some of the advice is
heavy duty. But some is more lighthearted. If you are downsizing,
rather than settling an estate, check those kitchen drawers. You
should find that you really don’t need six carrot peelers to be
moved to your new and smaller home.
The third section focuses on how to divide objects into sell, keep
and toss piles, with some emphasis on those things you want to keep
for yourself, disposing of a collection and the sometimes delicate
situations that develop with family and friends.
Section four describes the different venues available for selling or
otherwise disposing of objects, including donations.
And the final topic deals with tossing things. If you have followed
the first four sections, probably there will be very little left to
toss. This is the ideal situation. But there’s always something.
This book contains good, practical advice. It’s easy to read, with
the facts sprinkled periodically with Rinker’s opinions. And any
regular reader of Rinker’s column in this paper knows that he always
does have definite opinions on whatever subject is under discussion.
I
related personally to his comments on the fact that the oldest child
in a family should not necessarily, by birthright, have the first
choice in choosing what heirlooms to keep. My younger of two
granddaughters recently said to her mother, “Why do I always have to
be the little sister?” Being oldest does not automatically grant
picking rights.
We
are frequently asked by friends who are downsizing or settling a
parents’ estate the questions that are asked, and then answered, in
this book. I will definitely be recommending it.
Sell, Keep or Toss? (ISBN-13: 978-0-375-72240-0) is being
released in September, 2007, by House of Collectibles, www.
houseofcollectibles.com. It is priced at $16.95 U.S.
Donna Miller
Return to Index |
Egyptian ‘Look’ Topic Of Schiffer
Book
BOOK REVIEW
|

This is the pendant of a necklace in sterling silver and
enamel, with stones of lapis lazuli. The central feature
is a winged scarab carved from the lapis. The curved wings
are of a soft green enamel, as is the vulture’s tail. The
two drops are also of lapis. The total piece is about 3
inches long and a little over 2 inches across. The author
estimates that it would bring from $850 to $1200 at
auction, and possibly more in an upscale shop. |
|
Beginning in the 19th century
and continuing into the 20th century, there was considerable
archaeological interest in excavations in Egypt. Hundreds of tombs
and tens of thousands of artifacts were discovered. Interest peaked
with the discovery of the tomb of King Tutankhamun (King Tut) in the
1920s.
Almost all of the discoveries
made during these years ended up in museums, and rightfully so.
However, the Egyptian “look” became popular. The bright and bold
colors of the 1920s were a good fit for the Egyptian motifs; and
nowhere was it more noticeable than in jewelry design. This is the
subject of
Egyptian Revival, Jewelry & Design, by Dale Reeves Nicholls, with
Shelly Foote & Robin Allison, a recent Schiffer publication.
Extensive historical
background information is included in this well-researched book. An
extensive section covers the signs and symbols used on Egyptian
Revival pieces. Scarabs are used extensively, frequently winged
scarabs. Sphinxes are a common element, as are hieroglyphs.
Pyramids, obelisks, pharaohs and queens (including Cleopatra) have
also been used. If a flower was used, it was probably a Lotus
blossom. Many Revival pieces are based, more or less, on actual
jewelry found in the ancient tombs.
The ancient Egyptians used
their jewelry not only for adornment, but also as talismans. Certain
symbols provided either protection or well-being. The Eye of Horus,
also found in Revival jewelry, was one of the most powerful. It’s
easy to recognize; it looks like an eye. (Horus was the Egyptian god
of light. He had a man’s body and a falcon head.)
The book contains not only
jewelry. There are also examples of the Egyptian Revival style in
pottery, glass and porcelain. Companies from Royal Doulton in
England to Rosemeade in North Dakota used the theme in pottery.
Gorham used it in silver. Nippon from Japan had examples in
porcelain. Adams made an Egyptian pattern in the late 1800s in
pressed glass.
After reading the book, I was
surprised to find just how many antiques and collectibles there are
that feature an Egyptian theme. It can be the basis of a whole
collection.
Egyptian Revival, Jewelry
& Design (ISBN
0-7643-2540-X), is priced at $39.95. It includes a price guide.
Contact Schiffer Publishing, (610) 593-1777 or see the online
catalog at
www.schifferbooks.com.
Donna Miller
Return to Index
|
Furniture Book Helps Answer Who, When & Where Questions
BOOK REVIEW
|

A
Boston Heppel-white chair, c. 1790-1810. |
|
Identifying
early American furniture can be a daunting task. Hundreds, even
thousands, of regional variations occurred in the design and
construction techniques used by craftsmen along the thousand miles
of coastline of the original 13 colonies.
Early
American Furniture, a guide to Who, When, and Where, by John W. Obbard,
will be of help to anyone faced with the task of furniture
identification.
Some facets of
identification rely on common sense. For instance, timber was heavy,
inexpensive and readily available. For that reason, craftsmen used
local woods; it was rarely shipped for any distance. When an
imported wood such as mahogany was used, the furniture maker would
have lived close to a navigable river or the sea, where it didn’t
have to be transported any great distance.
Most furniture
was produced in urban areas. A clue that the piece was made in a
rural area is the presence of hinges and latches that were
individually handcrafted; the hardware available to the rural
furniture maker was both expensive to buy and difficult to obtain.
Design
features were also regional, as were certain styles.
Further
confusing the identification process as to where or when is the fact
that from the very beginning of our country, furniture was
manufactured and shipped to other colonies. It was a big business.
The fact that it came from the home of a grandparent in Philadelphia
is no guarantee at all that it was made there. Obbard relates that
so many chairs in the Queen Anne style were made in Boston and
shipped to Philadelphia that they were actually known as Boston
chairs.
By the second
decade of the 1800s, regional identities had begun to disappear, and
the “where” becomes even more difficult.
If identifying
furniture from colonial times is something you are interested in
doing, this will be an extremely helpful book. It is published by
Collector Books and is priced at $19.95. (ISBN 1-57432-489-6). It
does not contain a price guide.
Donna
Miller
Return to Index
|
|
|
|