A look Inside the March Issue of Kovels Antique Trader

From valuing the priceless to a professional’s guide to downsizing your home and a look at the timeless hobby of collecting chess sets, you’ll experience a spring in the step of the March issue of Kovels Antique Trader.

March KAT 2025f cover

Harvey Lieberman dreamed his large, inherited vase from his deceased parents was a rare Renaissance relic that might have graced the home of an Italian nobleman during Da Vinci’s lifetime. What he discovered was something completely different. Would the truth about his vase change everything? Lieberman shares a thoughtful story of one family’s understanding of the true value of the things we hold dear in the March issue of Kovels Antique Trader.

“What endures is not the dollar amount of an object,” Lieberman writes in the March cover story, “but the memories and meaning we attach to it. The vase might never belong in a museum, but it holds an unshakable place in our family story.”

What we decide what to hold on to and what we decide to let go of is a challenging yet important decision, especially as we get older. In the March issue of Kovels Antique Trader, Ellen Goodwin shares her professional strategies for decluttering and downsizing your home. Goodwin, the cofounder of Artifcts, an online community empowering people to capture and preserve the objects and stories of their lives in a new way, provides step-by-step advice on letting go. After all, decluttering your space not only allows you to get rid of unwanted items, but it can also positively impact your mental and emotional well-being.

Considering your next move is always a good thing, especially for those who enjoy the timeless hobby of collecting chess sets. Chess has fascinated the minds and challenged the skills of strategic thinkers for centuries. As writer Kris Manty points out, the ancient game has also yielded ornamental sets that have fascinated collectors worldwide. Collectible chess sets range from under $50 to millions for luxury examples like the silver, ebony and ivory chess set and table from 1866 once belonging to Russian Tsar Alexander II, which sold for $2.5 million at Christie’s.

For five years, Pamela Wiggins Siegel has been writing about the vibrant world of costume jewelry. To commemorate dozens of articles filled with tidbits of research, precious memories and lots of fantastic jewelry, our longtime costume jewelry expert is looking back at favorite topics and styles to select the best of the best over the past five years. Her retrospective on “All That Glitters” is as brilliant as the subjects she holds so dear.

Along with Sales Reports covering the beautifully illustrated and designed Kelmscott books, Buddy L toys, and the spectacular collection of advertising and coin-operated toys from the famed collection of Rich and Sharon Penn, Dr. Anthony Cavo weighs in on readers’ questions regarding a Computing Scale Company scale and an old duck decoy.

Speaking of weighing in, Editor Paul Kennedy shares his thoughts on the love-hate relationship with Spring for many who live in the northern regions of our country. “Truth is, we move from Winter to Summer, with only the shortest of visits from Spring.,” Kennedy writes. “Spring is like a college-age daughter who shows up at home unexpectantly looking great in a light and airy dress, eats, borrows some money, and grabs your car keys, slipping out of town the next day with her seasonal pals Summer and Autumn, driving off to Florida for – you guessed it – Spring Break.”

And yet, for all his consternation about the unpredictability of the season, Kennedy still loves Spring – a passion we hope you’ll hold for the March issue of Kovels Antique Trader.

Sculpture found in abandoned French apartment sells for $3.8 million

A long-forgotten sculpture, hidden in an abandoned French apartment, turned out to be a lost masterpiece by Camille Claudel (1864-1943) who joined renowned sculptor Auguste Rodin’s workshop in 1883.

Age of Maturity Camille Claudel

It was one of those discoveries collectors dream about, a sculpture hidden in an abandoned apartment proved to be a lost masterpiece by a once-underappreciated artist. Now, that dream has been realized as the sculpture, “The Age of Maturity” by Camille Claudel, has sold for $3.8 million.

Matthieu Semont, auctioneer at Philocale in Orleans, France, was taking an inventory of an apartment in Paris last September. The apartment had not been used for 15 years. Semont told the Agence-France Presse (AFP) that he found the bronze sculpture concealed by a cloth. He immediately recognized its potential value and had it researched by experts at Le Cabinet Lacroix-Jeannest, who confirmed it was the work of Claudel.

Camille Claudel (1864-1943) joined renowned sculptor Auguste Rodin’s workshop in 1883. They had a love affair that lasted until 1892, when Claudel began sculpting “The Age of Maturity,” which she completed in 1898.

Named “L’Âge mûr,” sometimes translated literally as “The Mature Age,” the bronze sculpture depicts three figures. A young woman, representing Youth, is on her knees with her arms outstretched, her hands slipping from the grasp of an older man, Maturity, as he walks ahead, guided by the craggy, cloaked figure standing for Old Age.

Age of Maturity side view Camille Claudel

The casting discovered in the apartment was made by Eugène Blot in 1907 to exhibit in his gallery. It disappeared soon after and was considered lost until Semont found it. There are three other known castings, one in the Musée d’Orsay, the Musée Rodin, and the Musée Camille Claudel.

Philocale estimated the statue’s value at €1.5 to €2 million, or about $1.6 to $2.1 million. The auction was held on February 16, with the catalog published by La Gazette Drouot. The winning bidder purchased “The Age of Maturity” by telephone for €3.6 million, or $3.8 million.

While Claudel achieved recognition during her lifetime, exhibiting at the Salon d’Automne in the early 1900s, she, like many women artists, struggled to get funding and commissions. For decades, historians and critics only considered her work in relation to Rodin. However, interest in her work on its merits grew in the 1980s and 1990s. A 1988 biographical film may have contributed to this new recognition. By 2015, auction sale prices for her sculptures made her one of the “most expensive women at auction,” according to a report by Artnet.

Discoveries like this show that she is still an artist to watch.

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Silent No More: Long-Lost 1915 Film “The Heart of Lincoln Resurfaces After 110 Years

A copy of “The Heart of Lincoln,” a 1915 silent film long believed to be lost, surfaced nearly 110 years later in the Historic Film Archives in Greenport, N.Y. The 16-mm reels were discovered by Dan Martin, a film preservation student, and intern at the archives while going through decades-old boxes of donations last year.

Joe Lauro, the company’s founder, recalls that Martin “came up with a startled look on his face and said ‘Joe, I really think we’ve got something special here.’”

He was right. The Library of Congress has estimated that “70 percent of feature-length silent films made in America have been completely lost to time and neglect.” While “The Heart of Lincoln” is a 30-minute short, not a full-length feature, it isn’t any less of a rarity. As of 2016, it was on the Library of Congress’s list of 7,200 lost American silent films.

The film was released by Universal and directed by Francis Ford, whose younger brother John would become a legendary director himself. Francis Ford also acted in the film, playing Abraham Lincoln. Writer Grace Cunard starred as Betty, a young woman who knows two young men serving on opposite sides of the Civil War. When both men are captured and sentenced to death, Betty seeks help for them from President Lincoln, appealing to the sense of compassion, reflected in the film’s title.

A 1915 review of “The Heart of Lincoln” in the magazine The Moving Picture World called it “a fairly strong production,” praising Ford’s performance and saying, “The plot itself is not overly strong, but brings out a number of pleasing scenes.”

Today’s audiences may have the chance to see if they agree. After the film reels were rediscovered, film archivist Eliot Kissileff digitized the movie, calling it “just lucky the cans were sealed and had not decayed.” Lauro, a filmmaker, musician, collector, and owner of the Historic Film Archives, intends to restore the film and add a score.

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Cape Crusaders

Let’s face it: the world is just more fun when you wear a cape.

Batman

Would Adam West’s Batman have been as cool for TV audiences
in the 1960s or as much fun for kids to imitate without
the cape? Holy superhero fashion statement, we don’t think so.

When my younger brother and I were kids, one year for Halloween, he wore a supercool costume of his favorite superhero, Batman.

Long after trick-or-treating was over, he continued to wear the blue vinyl cape. He wore it when he fought imaginary Gotham villains, rode his bike over homemade jumps in airborne feats of derring-do, and taped nickels and dimes to the bottom of his shoes to wow us with his “tap” dancing moves.

1960s Halloween

Why couldn’t he set aside that blue vinyl cape? Because even my scrappy 8-year-old brother knew that a cape adds a certain pizzazz, an air of grandeur to whatever you are doing while wearing one.

Fastening a cape around your shoulders is a sartorial shorthand for impending action and means you are ready for anything. This message has been conveyed for centuries, regardless of whether the wearer is a king, a fashion maven, or a kid pretending to be Batman.

A Transformative Garment

Since its earliest known mention in 1066, the wonderfully diverse—and highly polarizing—cape has ebbed in and out of fashion more than any other garment. And today, it’s coming back around again.

The word cape is derived from the Latin word “cloca” or “cloak.” People often use cape and cloak interchangeably, as they are similar garments, but there are main differences: capes are typically hoodless, commonly waist length, and generally don’t close in the front, while cloaks are floor length and usually hooded.

Capes have been worn throughout time by many historical figures, including Julius Caesar, King Arthur, Napoleon Bonaparte, Jackie Kennedy and Princess Diana to convey authority, power and sophistication. They are also associated with fantasy settings and stories involving Dracula, knights, pirates, superheroes, wizards and swashbucklers like Zorro.

Capes are also included as part of a female soldier’s dress uniform in all branches of the military; are worn by many men and women in police units worldwide for weather protection; are utilized by marching bands; and were also a popular part of a nurse’s uniform from the early 1900s through the 1980s for warmth and as a way to display nursing rank.

What began as a plain piece of cloth tied at the neck, capes have been reimagined by some of fashion history’s greatest designers.

This red wool hooded cape, designed in the late 18th century and
called a “cardinal” because of its color, is a variant of the capuchin, or monk’s habit.

Victorian-Era Capes

If the cape had a Golden Age, it was during the 19th century Victorian Era. As with much of fashion, capes took on a different level of significance and style and became less a man’s accessory and more a woman’s go-to look, especially since the sleeves on gowns were commonly too poofy to fit into coat sleeves.

1881 The Fairest of Them AllA gentleman helps a young woman with her cape in the circa 1881 painting,
“The Fairest of Them All,” by English painter George Goodwin Kilburne (1839-1924).

Renowned couturiers like Emile Pingat and Charles Frederick Worth took advantage of increasing industrialization and became more creative with their cape creations. They used a variety of materials, including feathers, lace, silk, and velvet, to make the garment in different cuts, lengths—from full to shoulder-length capelets—and styles.

From left to right: Emile Pingat’s interpretation of Plains Indian motifs on this 1891 cape.
This style of embroidery pattern, although distinctive amongst other late 19th-century European
designs, is iconic of Pingat’s work; Charles Frederick Worth’s “Tulipes Hollandaises” cape from
1889, showcasing vibrant tulips, won a grand prize at the Exposition Universelle of 1889 in Paris;
Pingat’s evening cape, 1890, is made of silk, metallics, beads and stones.

Wealthy Victorian women were rarely seen in public without wearing red velvet capes, also known as hooded cardinal and scarlet capes. These capes were often floor-length and trimmed with white fur. A hallmark of high fashion, these capes signaled to the rest of society that the woman wearing one possessed good moral standing, which is why many women also wore them as part of their wedding ensembles.

Other popular capes worn for social status included opera capes, made of velvet or wool and richly embellished with embroidery or various trims, that were a favorite with men and worn on nights out to the theater; “dog-collar” capes designed to cover and protect the high necklines of dresses and gowns; and multi-tiered pieces made specifically for day or evening. These capes commonly had three tiers, and according to fashion magazines of the day, a “proper” lady would have owned at least three.

Capes in the 20th Century

No one managed to wear a cape with as much panache as the flamboyant pianist and entertainer Liberace.

By the early 20th century, capes further established their high-fashion status. In the 1920s and 1930s, French designers like Coco Chanel, Jeanne Lanvin, and Paul Poiret used the garment to add flourish to their evening
wear and lavishly embellished them with appliques, embroidered designs, or rhinestones.

Though capes briefly fell out of style during the Jazz Age, when slinkier dresses required more coverage, the garment saw a mid-century revival. Shoulder-length pieces were paired with a fitted dress or blouse and pencil skirt. Fashion designers Cristóbal Balenciaga and Christian Dior cornered the mid-century cape market. Balenciaga attached mini capes to his extravagant gowns, and Dior accessorized tailored suits with cocoon-style iterations.

Elvis, Liberace, and stunt performer Evel Knievel kept the cape trending in the 1970s and ’80s. Elvis used the garment to add a matador-like flair to his stage presence, and one notable cape he wore during a 1972 concert at Madison Square Garden was part of one of his best-known ensembles that sold for just over $1 million in 2021.

But perhaps no one else ever donned a cape with such extravagant pomp as Liberace, famous for his excessively bedazzled creations that weighed over 100 pounds and were made of everything from pink-dyed turkey feathers adorned with butterflies to black monkey fur.

When it came to capes, the American pianist and singer went big, and some of his most notable include a Norwegian blue fox cape with a 16-foot train studded with bands of Austrian rhinestones that weighed 135 pounds; his King Neptune cape that was 26 feet around and featured fish, coral, waves and starfish made with 200 pounds worth of pearls, rhinestones and sequins; and his Flame costume cape that featured small mirrors all over and was embedded with 600 tiny electric lights. The New York Times once noted that two of Liberace’s costume attendants had been operated on for hernias developed while handling his wardrobe.

Capes Trending Again

From the ’80s onward, the garment billowed in and out of the mainstream, but good news: the timeless fashion staple is in again. Capes in various styles, from those with modest flair to bold examples ideal for those who want to make a statement like a heroine in a period drama to pieces, are fluttering across social media and being touted by fashion magazines as a fall trend. Capes are also part of the spring 2025 collections of Burberry, Christian Dior, and Isabel Marant, among others.

While Grandes dames propelled capes into style a century ago, the social media platform TikTok can take much credit for its resurgence in the past few years, as capes (and cloaks) are an obsession among Gen Zers adopting old-world glamor. For proof, look no further than a 37,000-member group on Reddit.com called The Cape Revolution is dedicated to all things capes and cloaks.

So, if you’ve ever toyed with the idea of giving a vintage cape a whirl or already have one in a collection you want to start wearing again, now is the perfect time to do so.

Collecting Capes

Collectors prize capes for their elegance, theatrical panache, and place in fashion history. When it comes to acquiring them, there are many options, from capelet to floor styles, and they can be found at different price points. Antique and vintage capes range from around $10 for basic examples of cotton or wool to $1,000 and more for rare examples and those with elaborate embroidery or other embellishments. Capes made by notable designers naturally command higher prices.

Some of the most popular capes to collect are pieces from the Victorian era, especially lavishly decorated examples, and items made by innovative 19th-century designers like Pignat and Worth. Other popular capes include pieces made in the 1920s through 1940s, ceremonial, law enforcement, military, mourning, nursing, opera, religious and multi-tiered. Capes made by prominent luxury brands, including Burberry, Chanel, Halston, Givenchy, Pendleton, and Yves Saint Laurent, also hold value.

In all its different guises and aesthetics throughout history, one thing about the cape remains the same: wear it with flair, and you can wear it anywhere.

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Long-Lost Renaissance Miniature Resurfaces at Auction

Lavinia Fontana's miniature of noblewoman Bianca CapelloItalian noblewoman Bianca Capello by artist Lavinia Fontana

A long-lost miniature portrait of an Italian Renaissance noblewoman, once an object of fascination for a pioneering English novelist, has been rediscovered at a Texas auction. What could you call that but serendipity?

Serendipity can be one of the greatest joys of collecting. Have you ever stopped by a shop just to browse, only to find the perfect addition to your collection? Or maybe you spent months pondering over a mystery item and then stumbled across the answer to your questions in a seemingly unrelated book. English writer and prolific collector Horace Walpole (1717-1797) is credited with coining the term to describe his discoveries relating to an antique miniature painting of an Italian noblewoman. What could be a better word when that miniature, presumed lost for years, is rediscovered at an auction?

The two-inch oval portrait, painted in oil on copper, was up for sale at an auction in Texas when it caught the expert eye of British art dealer Nick Cox, whose Period Portraits gallery specializes in portraits from the 17th to 20th century. The portrait had been missing for over a hundred years, but its appearance was still known to the art world, thanks to copies and a drawing of Walpole’s cabinet of miniatures.

Walpole's cabinet of miniaturesThe miniature cabinet of writer and collector Horace Walpole

Walpole believed the portrait depicted Italian noblewoman Bianca Capello (1548-1587), whose dramatic life and scandalous romances inspired some of his writings. At the time, the portrait was attributed to Italian painter Bronzino.

Cox not only rediscovered the painting but also had it reattributed. He suspected it was truly the work of Lavinia Fontana, one of the first women to have a career as an artist. This was confirmed with assistance from Fontana experts Dr. Aoife Brady and Maria Teresa Cantaro.

The painting will be displayed at Strawberry Hill House & Garden in Twickenham, England, formerly Walpole’s home and now a museum, in an exhibit called—what else?—“A Serendipitous Return.”

This shows that you never know what treasures you might find at auction. While background knowledge is always helpful, sometimes the key is serendipity.

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Rare Watercolor Discovered by Chance During Online Appraisal Service

After getting a watercolor painting appraised at Christie’s, a lucky collector learned they owned a valuable work by J.M.W. Turner, one of England’s greatest painters. Now, that painting could sell for half a million dollars at auction.

Joseph Mallard William Turner

Usually, it’s best to be wary of online appraisals, but there are exceptions to everything. A collector submitted a picture of a watercolor painting to Christie’s online “Request an Estimate” service. It looked like a simple picture of a few greenish-blue waves, but Rosie Jarvie, Christie’s specialist in British drawings and watercolors, could tell it was something special.

Despite thinking the “image was poor” and noting it was “behind old glass,” making the painting difficult to see clearly, Jarvie “had an instinct…that we really needed to see this properly.” With help from historians Peter Bower and Ian Warrell, the painting was determined to be the work of English Romantic painter J.M.W. Turner, who had painted similar waves on similar paper during a visit to Venice in 1840.

With this in mind, the painting would have a very high value. It will be offered for sale in Christie’s Old Master & British Drawings auction on Feb. 4 with a presale estimate of $300,000 to $500,000.

Joseph Mallord William Turner

According to the Metropolitan Museum, Joseph Mallard William Turner (1775-1851) is “the most versatile, successful, and controversial landscape painter of nineteenth-century England.” He is best known for his vast landscapes and dramatic scenes of ships on stormy seas. He achieved great fame during his lifetime, but he was also ahead of his time in many ways; for example, his preference for painting outdoors and his handling of light and color anticipated the Impressionist movement. In his will, he left all his finished work to the National Gallery in London, making the Turner Bequest the largest donation of artwork the gallery ever received.

Before Christie’s appraisal, the watercolor had been attributed to John Ruskin (1819-1900), the English polymath whose writings and philosophy helped shape the English Arts & Crafts movement. Ruskin was a fan and great defender of Turner during the latter’s lifetime and handled the Turner Bequest after his death.

A painting by Turner could sell for 10 times more than Ruskin’s. Turner’s works have sold at previous Christie’s auctions for as much as $33,595,000. Jarvie expects the presence of a Turner watercolor—a newly identified one, at that!—to “invite competition” at the upcoming auction.

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These Trekkies Set Their Phasers to Stun as Julien’s Auctions Beamed Up Some Coveted Star Trek Collectibles

Boldly Bidding Where No Fan Has Bid Before: Iconic Star Trek Memorabilia Hit the Auction Block in November 2024.

William Shatner as Capt. James T. Kirk with his Star Trek phaser.

A phaser prop used by William Shatner as Capt. James T. Kirk in the television series “Star Trek” (Desilu Productions, 1966-1969) sold for $910,000 during Julien’s Auctions ultimate Star Trek memorabilia event “Bid Long & Prosper” in November. The long-lost phaser stunned fans, with the winning bid fetching nine times its original estimate. The phaser is now the highest-priced Star Trek prop sold at auction.

The second highest-selling item at the event was a communicator used by Shatner’s Kirk, which sold for a record $780,000. The collection of over 200 original props, costumes, and memorabilia from the Star Trek universe realized more than $3.6 million in sales, proving once again that Star Trek fans at auction are willing “to boldly go where no one has gone before.”

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Collectible Glamour: Vintage Compact Have Glamorous Aesthetics and Collectible Appeal

By Kris Manty

From boudoirs to collectors’ shelves, these charming beauty keepsakes double as mini works of art.

When I was allowed to start wearing makeup in high school, my mom graciously gave me her mirrored compact that I had admired since I was a little girl.

That pretty yellow, faux mother-of-pearl compact she bought in the 1950s conjures memories of being enthralled watching her get ready for a night out with my dad and “putting on her face.” Sometimes, she would sweep a little powder on my nose or blush on my cheeks and turn the compact my way so I could see how I looked.

It also makes me remember how I later discovered that, under the guise of reapplying my Dr. Pepper-flavored Bonne Bell Lip Smacker, I could use my compact to sneak peeks at the cute guy who sat behind me in algebra class. That crush is long gone now, but the compact remains a beloved treasure.

With their charming aesthetics, high quality, and variety of designs, Vintage compacts are also loved by collectors, who are willing to pay thousands of dollars for the best examples.

A History of Powdering Noses

There’s no other cosmetics item that lets you discreetly powder your nose, touch up your eye makeup—or covertly spy on someone—like a compact, once an essential accessory for every woman. These little cases came with a mirror, fine powder, and a puff to dust the powder on your face to quickly hide any blemishes, reduce shine, and give a flawless complexion.

While some compacts only carried powder, others held both powder and lipstick. Some were also equipped with tiny cosmetic tools.

French perfumers created the first powder compact during Louis XIV’s reign in the 17th century. Later, the compact made its way into the hands of English jewelers, who produced elaborate examples.

But it wasn’t until the 1920s that compacts began being produced en masse, thanks to young flappers of the Art Deco era who took to wearing heavy makeup. This gave rise to the cosmetics culture and made it socially acceptable to use a mirrored compact to primp in public.

These compacts were lavishly decorated and, like most jewelry and other adornments, were status symbols made to be seen and admired and to flaunt the wealth of the women who carried them in their purses. Many collectors consider the Art Deco era the peak of compact design.

Art Deco compact case.

During World War II, U.S. and British army divisions ordered vast numbers of compacts from manufacturers, which were sold on every base. These compacts became love tokens and popular gifts for U.S. servicemen stationed overseas to give to their sweethearts, often engraved with sentimental messages.

When girls turned 16 in the 1950s, powder compacts with spring-loaded powder plates and inset mirrors were regarded not only as a special gift but also as an initiation into womanhood.

By the 1970s, cheaply manufactured powders, liquid foundation, and natural faces were the fashionable trends, marking the end of the statement compact mirror.

Collectible Glamour

Vintage compacts for loose (with a fitted mesh sifter) or pressed powder have a retro feminine allure that makes them a favorite with collectors today for their artistic appeal and sustainability. They were made in a variety of materials, including beads, brass, cloisonne, and tortoiseshell, and in an array of whimsical shapes. This imaginative variety is partly because, for generations, a compact was considered one of the most acceptable gifts a young man could give a young woman.

A c. 1945 Van Cleef & Arpels compact featuring a ballerina
accented by round sapphires and round and rose-cut diamonds;
opens to reveal a mirror and powder screen, sold for $40,800.

Most serious collectors focus on compacts made in specific figural shapes, particular materials, like Bakelite, celluloid, gold, or silver, or by a specific cosmetics company, fashion house, or jeweler, such as Cartier or Hermes. Compacts made by luxury brands can command tens of thousands of dollars at auction: a gold, diamond, and sapphire ballerina compact made by Van Cleef & Arpels sold for $40,800 in June at Sotheby’s.

Though prices can soar for some examples, plenty of other vintage compacts can be found in the $10 to $100 range at antique shops, thrift stores, and online sites like eBay and Etsy.

The more eye-catching the compact’s design, the more desirable it is likely to be with collectors. Compacts from the 1920s and ’30s are some of the most popular because of their inventive designs, jazzy Art Deco details, and elaborate embellishments of faceted stones and enamels.

A round makeup case with interior mirror,
c. 1930, by Cesare Andreoni, Milan, Italy,
with embroidered fabric and drawstring.

Many notable beauty and fragrance manufacturers began producing compacts during the 20th century. One of the standouts is the Elgin American company, which made silver- and gold-tone compacts that were particularly popular—most notably the famous Bird-in-Hand compact designed by artist Salvadore Dali. A Holy Grail for collectors, these have recently sold between $800 and $5,000.

Pieces from the ’40s and ’50s became larger with the growing size of handbags that women carried around all day, and designs were innovative and flashy. The Volupte company of New Jersey, one of the most glamorous makeup brands during these decades, worked with many Hollywood stars and made compacts in various designs and styles, including whimsically shaped fruit, hands, and vanity tables.

“Collecting compacts like these is an exciting idea,” actress Rita Hayworth said in her endorsement of Volupte’s compacts. Today’s collectors agree, and these are among their favorites. Many Volupte compacts can be found between $100 to $250.

Tiffany & Company vintage 14K gold compact with emeralds
and diamonds, 2 3/4 in. by 2 1/8 in. by 1/2 in., $2,750.

Kigu of London also made some of the most delightful fantasy compacts of the mid-century, like its clever “Flying Saucer” compact, which reflected the obsession with all things related to space. This compact is a Holy Grail for collectors with its sapphire enameling, star constellation, and gilded, Saturn-like belting. Some even had a musical mechanism wound by a tiny key. These can sell between $200 and $2,000.

French cosmetics company Estée Lauder is well-known among compact enthusiasts for releasing yearly limited-edition examples since 1963, and its Golden Alligator compact of the ’70s features an alligator-skin pattern.

Other notable vintage compact manufacturers whose pieces are collectible include Cleopatra Vanity Company, Coty, Helena Rubenstein, Max Factor, Pozzini, and Stratton.

A 1955 advertisement for Creme Puff makeup by Max Factor.

As with other collectibles, the condition is critical. With any enameled or gilded piece, check the glassy surface and metal work for chips or other damage, as damage can significantly decrease value. Mint condition generally means an intact mirror, a puff, and the original box, though that’s rare. A compact doesn’t need to include powder to be valuable.

Whether you have one cherished compact passed down or a large collection of beautiful vintage pieces, you should display it somewhere it can be properly appreciated. These elegant vanity items were once viewed as valuable and treasured tokens gifted to loved ones and deserve to be admired as they were intended.

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From the Editor: Reys of Sunshine

By Paul Kennedy

We are hot and heavy into the gift-buying season. And with that in mind, might I suggest something from Hans and Margret Rey.

If you know of Hans and Margret Rey, it’s probably because you liked to read as a child. It could also mean you have children of your own you like to read to. Or maybe you have grandchildren, books, and a lap with nothing better to do than to be shared with a young one.

H.A. and Margret Rey

Or perhaps, like me, you simply like monkeys. Not the scary flying monkeys of The Wizard of Oz fame, but the non-winged, friendly, yet mischievous scamps we all wanted as a kid. It’s the tail, am I right?

The strange thing is the Reys’ most famous monkey, Curious George, doesn’t have a tail. But he does, however, have a tale. And it’s a good one.

curious george cover

I’d like to say that it all started in 1941, but that’s not exactly true. Yes, the story of Curious George, brought to America by The Man with the Yellow Hat, a stranger in a strange land, a little monkey who can’t stay out of trouble, was first published in 1941. And it, along with the other six George books in the original series—Curious George Takes a Job (1947), Curious George Rides a Bike (1952), Curious George Gets a Medal (1957), Curious George Flies a Kite (1958), Curious George Learns the Alphabet (1963), and Curious George Goes to the Hospital (1966)—has never been out of print, having sold more than 75 million copies.

Curious George is a classic. There have been movies, a PBS series, and merchandise galore. All in all, you could say there’s been a lot of monkey business.

And while that’s impressive, that’s not really the best story. This is.

Hans Reyersbach was born in Hamburg, Germany, in 1898. He lived near a zoo, where he learned about animals, as well as to draw and paint. During World War I, Reyersbach served in the German Army. Later, he painted circus posters for a living. After studying at two German universities, he went to Rio de Janeiro in the mid-1920s, looking for work. He ended up selling bathtubs on the Amazon.

Margarete Waldstein was born in 1906, also in Hamburg. After Hitler began his rise, she left Hamburg to become a photographer in London. In 1935, she, too, went to Rio. As luck would have it, the two met, fell in love, were married, and, in a move that would help them during desperate times, became Brazilian citizens. Hans changed his surname to “Rey,” and Margarete changed her name to “Margret.” For their honeymoon, they sailed to Europe … with their two pet monkeys.

The Reys found their way to Paris, where they began writing and illustrating children’s books. Hans drew the illustrations, and Margret helped write the stories. In 1939, they published Raffy and the 9 Monkeys. That same year, Hans began a story about a monkey who was forever getting into trouble but finding his way out. It was called The Adventures of Fifi.

Those were the good times. They didn’t last long. Not with Hitler near.

It’s June 11, 1940, in Paris. Hans and Margret Rey, both German Jews, need to get out of town, what with a fast-approaching Nazi army heading their way. With no car and with the trains not running, bicycling out of Paris seemed the only possible means of escape. Hans cobbles together spare parts bought from a bicycle shop to build two bikes.

The couple leaves the next morning, joining millions of refugees in an arduous journey heading south as German planes fly overhead. They carry some food, a little clothing and the drawings for a children’s book about a curious monkey.

Hans and Margret make their way into Spain and then to Portugal. From there, they sail back to Rio. Being Brazilian citizens makes the travel slighlty less complicated. In October of 1940, Hans and Margret sail to New York, staying with strangers. Luggage lost and money spent, they have next to nothing except a story.

Fifi, much like Hans and Margret, would be renamed. He, too, would become American. Curious George would be published the next year by Houghton Mifflin. That little story about a rascally monkey opened doors unimaginable just a short while earlier.

Undaunted by their harrowing past and narrow escape, the Reys flourish. Optimism fills their new beginning. A 1944 New Year’s card from them to friends reads: “Let us think of the future; that’s where we shall spend the rest of our lives.”

And what a future it was for the Reys, all because of a little monkey who might not have a tail but who certainly helped fashion a remarkable tale.

Paul Kennedy is Editorial Director of the Collectibles Group at AIM Media. He enjoys Mid-century design, photography, vintage movie posters and people with a good story to  share. Kennedy has more than twenty-five years of experience in the antiques and collectibles field, including book publishing. Reach him at PKennedy@aimmedia.com.

 

 

 

 

 

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Army Surplus: Supply and Demand

By William Leslie

The end of World War II triggered the biggest yard sale in the history of the United States military, the likes of which had never been seen before—and probably will never be seen again.

During WWII, the U.S. spent $288 billion in 1940 dollars, equivalent to $6.5 trillion in 2024 dollars. By the end of WWII, much of that money was gone. It had been spent on bombs, on airplanes that had been shot down, on soldiers’ salaries, and aid to our Allies. However, some of the money had been spent on things that were still around: things like military bases, buildings, trucks, food supplies, and reportedly, hundreds of thousands of body bags that weren’t needed because of the abrupt end of the war in the Pacific. Some equipment, such as navy ships, could be mothballed.

Between 1945 and 1947, the U.S. military shrank by 87 percent, from 11.9 million servicemen to 1.6 million. Nevertheless, the war’s end triggered an enormous sale of surplus material at a magnitude never before seen—and probably never to be seen again.

The U.S. had learned from the previous war. After WWI, ships, airplanes, and large guns were mothballed for future military use, but most were obsolete long before the next war. Surplus sales after WWI, which had been at a small fraction of the original cost, had caused howls from Congress and the American public. To many in the military, it was better to do nothing than move quickly and look foolish, so sales did not proceed rapidly. The Navy and Army (and soon, the Air Force) were reluctant to identify surplus before they knew the size of their future authorized personnel, and Congress was slow to define the size of peacetime armed forces.

After a series of politically motivated fumbles, Congress created the Surplus Property Administration to manage the disposal of an estimated $90 billion of government property in more than 5,000 locations in every state and overseas. Perhaps 90 percent of those assets were in the 48 states. Many overseas assets weren’t included because they were needed to reconstruct war-torn countries or had little or no application for civilian use. Bombs, tanks, and some communications equipment couldn’t be sold to just anyone.

The list of items available for sale to the public would fill several phone books. Some examples included:

• 47 million yards of jute burlap strips – previously destined to become camouflage — in six colors, stored in 33 rail cars.
• A 300,000-square-foot manufacturing plant in Burlington, N.C., complete with an airport.
• A Navy landing craft, LCVP #C-9596, 36 feet long, in Attu, Alaska.
• 500,000 wristwatches
• 57,000 herringbone twill fatigue jackets
• Hundreds of Higgins boats
• Real estate that had held POW and Army training camps

Two Boeing B-17 Flying Fortress bombers in flight.

Two Boeing B-17 Flying Fortress bombers in flight. Photo: Getty Images

To limit the profits of businesses that participated in surplus sales, the government sometimes set a ceiling on the price at which goods could be retailed. For example, when the Army sold 4,000 rowboats designed for infantry assaults, it set a maximum retail price of $75. It’s unknown whether such controls were effective—but it seems unlikely.

The government didn’t have the time or the personnel to handle the retail sales of small quantities of goods. At first, most surplus sales were reserved for businesses, although this was later relaxed. That meant that an Army dentist, recently released from the service, couldn’t buy his dental equipment from the Army. He typically had to go to a wholesaler of dental equipment who had just purchased the surplus equipment. However, to help him with the purchase, GI loan programs would finance the equipment purchase to start a business. Items for personal use, such as vehicles, were typically sold at a predetermined price. Items intended for resale by businesses were sold based on a written bid.

Eleven designated districts were created, each serving multiple states. District 1, headquartered in Boston, handled assets in Connecticut, Maine, Massachusetts, New Hampshire, Vermont and Rhode Island. District 11, in Seattle, handled sales in Oregon, Montana, Idaho, and Washington State. Unfortunately, that meant that an ex-fighter pilot who traveled hundreds of miles to try to purchase a Piper Cub might be awarded a plane located 500 or more miles away.

Overseas assets had a different hierarchy of claims: First, overseas agencies of the federal government; second, reconstruction relief agencies, such as the UNRRA – the United Nations Relief and Rehabilitation Administration; third, U.S. veterans living overseas; and fourth, Allied governments. This meant that most vehicles in Europe at the war’s end were turned over to local governments to replace government vehicles destroyed in the war. This served to speed the recovery of a devastated Europe. The French postal service might request 1,000 jeeps for use by their postal service. The German forestry service could request 200 Dodge trucks to restore logging operations.

Sales of assets to other governments were problematic. In many cases, it was unclear who had the authority to decide for a particular city, state, or country. And if a foreign government wanted to buy, what currency was acceptable for payment? And what exchange rate would be used? Overseas sales resulted in some very bizarre results.

• The U.S. sold all of the assets in one European district to a local government for $400,000. That government immediately resold most of the assets to private sector companies, who shipped them to the U.S., selling them at huge profits.

• President Truman argued for faster surplus sales to restore foreign economies. Although $5 million in materials in Italy had been identified by the summer of 1945, just 10 percent had been designated suitable for sale to civilians, and little had been released.

• Espiritu Santo, an island in the South Pacific, was an enormous Allied base with as many as 40,000 soldiers and sailors and eight movie theaters. It was famously the home of VMF-214, the “Black Sheep” squadron. After the war, an attempt was made to sell hundreds of vehicles, thousands of pieces of equipment and mountains of building supplies to the local government, a joint venture between the French and the British. Their target buyer’s perception was that there was no way that the U.S. would ship the assets to another market, and they refused to negotiate a price. Frustrated, Navy Seabees built a ramp and dumped the surplus into the ocean. That place is now known as Million-Dollar Point and is a popular location for scuba divers, who find bulldozers, cranes, trucks, crates of clothing, and cases of Coca-Cola.

• There were 137 bombers and nine fighters that were interned by the Swiss during WWII and were sold to the Swiss for scrap.

• Hollywood stunt pilot Paul Mantz bought 475 bombers and fighters in the U.S. for $55,000, or $115.79 per airplane. He reportedly sold the fuel in the tanks for more than that and then sold airplane parts worldwide for years. Some parts were sold back to the U.S. military, which had misjudged their needs. Ultimately, he sold the rest as scrap metal for $160,000. Mantz died in a plane crash during filming of 1965’s The Flight of the Phoenix, starring Jimmy Stewart.

In 1946, Congress pivoted responsibility to another entity, the newly formed War Assets Administration. An estimated $28 billion in personal property suitable for sale to the private sector remained to be sold. A primary concern for Congress was to avoid the disruption of businesses that were returning to manufacturing products suitable for the private sector.

For example, in December 1945, surplus medical supplies were estimated to total 50 percent of annual U.S. production. Medical suppliers, who had worked so hard to support the war effort, were obviously sensitive to the timing and pricing of sales. To protect U.S. auto manufacturers, the trucks, jeeps, and motorcycles that had made their way to Europe would not be returned to the U.S. At least, that was the goal.

Camp Adair, Ore., was typical of the real estate to be sold. It included 89 square miles of land and 1,700 buildings. Adair was rapidly constructed in the year following the attack on Pearl Harbor as a training facility and briefly as a camp for German and Italian prisoners of war. Following the war, much of the land was repurchased by the farmers who had sold it to the Army just a few years before. Some buildings were sold for nominal prices and moved to other locations.

American Allies faced similar issues in dealing with surplus. In 1946, Cranfield Aeronautics College, located north of London, requested a modern aircraft with a hydraulic wing fold as a learning aid for its students. In 1963, students there decided to wheel their Corsair down to the local village pub under the cover of night. This naturally caused a buzz of amusement in the village, and the college set out to retrieve the bird with a tractor. Shortly after the incident, the plane was transferred to the Fleet Air Arm Museum in Yeovilton. It was the only survivor of around 2,000 of this plane type delivered to the British. The rest were scrapped. In 2000, restoration of the Corsair began, revealing layers of paint last seen in 1946.

What do you do with a surplus B-17 Flying Fortress from WWII? If you’re Art Lacey,
you use the hulking bomber as a tourist attraction for your service station in Milwaukie, Oregon, of course

And then there’s Art Lacey of Milwaukie, Ore., who in 1947 decided he needed a massive, decommissioned Boeing B-17 Flying Fortress atop his new 48-pump gas station.
Over 12,000 bombers were manufactured for the war, with 4,735 lost in battle. That left thousands of B-17s to be scrapped or sold to people like Art Lacey, who purchased a surplus bomber in Oklahoma. His B-17, dubbed “Lacey Lady,” became an instant tourist attraction and served as a service station canopy in Milwaukie, just a few miles south of Portland, for nearly 70 years.

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