With nearly universal expansion of Internet access, a lot of antiquing today happens online rather than on the ground. Despite that trend, I prefer live shopping, in spite of the closure of so many of my favorite live shops.

Most of my collecting interests lie in glass, porcelain, and other ceramics, and I buy these now almost exclusively in live venues unless I’m very familiar with the seller and know they know what they’re selling and how to ship it safely. Sure, restricting online shopping restricts my access to potential additions to my collections, but it also avoids the risks of buying online – some of which I previously experienced and which led to my marked preference for live shopping. This column deals with some of those risks, for sellers as well as buyers.

Customer who buys but doesn’t remit

This happens occasionally in online auctions. It can occur when a potential buyer gets carried away by a hot bidding war and then discovers not really wanting the item that much when it comes time to pay. If you posted the winning bid, you bought the item. If you don’t know how to control your own bidding, online auctions are probably not for you.

The obverse to this is a seller who has every desire to take your money and no impulse to send the merchandise. Over the years, there have been some well-publicized cases involving sellers who have specialized in this kind of scam.

Merchandise misrepresentation

This may be the most frequent and glaring risk of buying antiques and collectibles online. It never ceases to amaze me how often sundry pieces of no-name glass are represented by a seller as a desirable glassmaker’s work when the only thing the item has in common with the work of the alleged manufacturer is that they’re both made of glass.

But it isn’t only manufacturer misidentification that can be a problem online. Sellers can be blind to defects such as chips and cracks in porcelain and glass. I’m willing to cut sellers a bit of slack on this point since I witnessed an especially surprising dealer blind spot while I was working in an upscale antique store. A regular dealer proudly showed an item the dealer was so proud of because of its allegedly immaculate condition despite its age. The shop’s owner happened to be there at the time, and he and I shared a quick glance at each other because it was immediately obvious to us that there were a few chips and defects in the piece. It was just as clear, though, that even this professional, experienced dealer was so overwhelmed by the allure of the piece itself as to just not see its defects.

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com. ​

Wedgwood is an English company that makes many patterns of dinnerware. Whole dinnerware sets, of course, are seldom collectible in multiples because of the space that would require. Wedgwood is probably most famous among collectors for its decorative jasper stoneware, featuring relief scenes against an unglazed colored background.

Wedgwood is a very old company; the founder, Josiah Wedgwood, began making jasperware in 1774 (Incidentally, Charles Darwin was Josiah Wedgwood’s grandson! And, Josiah’s granddaughter was Charles Darwin’s wife, making that couple first cousins).

Today, Wedgwood belongs to the Fiskars Group, which also owns other well-known brands such as Georg Jensen, Royal Doulton, Royal Copenhagen, Royal Albert, and Waterford (https://fiskarsgroup.com/). Jasperware is most noted for its raised white scenes against a light blue background, sometimes referred to as “Wedgwood Blue,” but there are several other background colors for Wedgwood jasper, including a dark blue, lilac, green, yellow, crimson, and basalt (black).

Crimson Jasperware is considered rare as it was made in a relatively short window from the late 19th century through its suspension in 1910. Other expensive jasperware uses unusual color combinations, such as the Portland vase of dark blue on pink, and even the current retail pieces on these examples can run up to three and four figures.

The Portland vase, still being made, is an iconic example of Wedgwood jasperware. It has been made in several base colors, including dark blue, light blue, and black. This vase was also made in the rare crimson color with white relief, a genuine antique for which four figure prices are the rule, even for damaged examples. The design was Josiah Wedgwood’s copy of the Barberini vase from Roman antiquity. The Wedgwood relief design continues even to the underside of the base. A large Portland vase, with both the classical relief and background in a color Wedgwood calls “flaxen,” retails at Wedgwood for $18,500!

Jasperware has been imitated, and wannabe items are usually entirely unmarked. Authentic Wedgwood will always be engraved as such on the bottom of its pieces. Be sure the mark’s spelling is correct; even when fake pieces are marked, the mark is often misspelled “Wedgewood” (with a second “e”). AI often also uses this misspelling, so take care in your research!
The themes of decorative reliefs on Wedgwood vary widely, from classic Greek and Roman motifs to leaf and flower decorations to ships and buildings. The variety of relief themes is, to my eyes, one of the most attractive aspects of Wedgwood forms that range from vases to dishes to Christmas ornaments and more. Relief work is applied by hand and shaped by craftsmen who serve an apprenticeship of up to 10 years before becoming master craftspeople.

Most Wedgwood found on the secondary market today will be relatively modern. Letters embossed in the surface of the base were introduced in 1860 as an aid to dating the pieces. The dates began with the letter O and proceeded alphabetically until 1906, repeating the alphabet for subsequent years after “Z.” Any marks after 1891 will have ‘England’ included. You can find a fairly complicated list of older and antique Wedgwood marks at https://fineart-restoration.co.uk/news/identifying-wedgwood-makers-marks-and-dates/. The most expensive secondary market pieces were made in the 19th century or earlier.

Since it is waterproof, jasperware vases can be used to display cut flowers (although I imagine the inside of a Jasperware item could be discolored by standing water if the water has a high mineral content).

“The key is thoughtful use. Avoid dishwashers, microwaves, and extreme temperature changes,” according to heirloomblog.com.
Secondary market prices, such as eBay on the most commonly seen light blue Wedgwood jasperware, can be very affordable as the market has been pretty much glutted. Collectors interested in value are advised to focus on other colors. Whatever its background color, when buying on the secondary market, carefully inspect the relief (as well as the overall form) for chips and nicks, which will affect value.
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Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com. ​

As with most old toys, antique dolls showing no sign of ever having been played with by a child are the ones that appeal to adult collectors, who are often willing to pay four to six figures for 19^th-century examples by famous makers such as Schmitt & Fils, Jumeau, and Simon & Halbig. Look for a maker’s mark on the bisque portions of an antique doll, often found on the back of the neck or head or elsewhere. Such dolls are unlikely to be found in the average shop – but you never can tell what you may be lucky enough to find!

The history of dolls goes back to early centuries BC, and antique dolls can be found in virtually every culture from Africa to Asia. In fact, archaeological evidence indicates dolls were the earliest known toys. While dolls in unused condition are desired by modern collectors, an unused doll in ancient cultures would have been kept from children if it were believed to be charged with magical powers.

Whatever the maker, the most desirable dolls of interest to collectors today are porcelain dolls that have their original clothing and shoes. Knowledgeable collectors will also look for hidden flaws before buying. They may ask, for example, to have the wig removed to inspect the head for cracks or chips. Firing cracks are common in the bisque porcelain that forms the heads of most antique dolls and do not affect value. Firing cracks are jagged and often have a slight space between, say, the back of an ear and the place it attaches to the head, but a straight-line crack across the neck or head is damage, and that will affect value.

The doll companies mentioned in the first paragraph are no longer in business today. But another famed doll maker, Madame Alexander, is still in production. Its dolls date from the 20^th century, and while the oldest and rarest of them are exceptional and can sell for thousands of dollars, many Madame Alexander dolls can be purchased for less than $100.

The Antiques Roadshow has an instructive video on determining whether a porcelain-faced doll is antique vs. newer. Antique dolls will usually have moveable glass eyes that look remarkably real, although some well-made newer dolls may also have glass eyes. A better clue is that the face of a newer doll will feel entirely smooth to the touch, whereas an antique’s face will feel slightly grainy.

A doll doesn’t have to be made of porcelain, of course. Children have also played with homegrown dolls such as apple head dolls, corn husk dolls, and rag dolls. For Native Americans, corn was an important staple food source with a spiritual aspect. According to the Los Altos History Museum, the first corn husk dolls were made by Northeastern Native Americans, who made the dolls without faces to reflect a tribal myth as described on the museum’s website. Corn husk dolls were attractive to pioneer-era white families because they were easy and affordable to make from materials at hand. The dolls were also adopted by enslaved African American families because they could be made from husks left over after the harvest season.

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com. ​

The oldest rattles date from about 4,500 years ago in the Middle East. Speculation has given them other roles besides toys, such as warding off evil spirits (through the sounds a rattle makes). “But perhaps parents also needed to distract their children now and then so that they could have a bit of peace and quiet to themselves. Today, we use screens; back then it was rattles,” notes archaeologist Mette Marie Hald from the National Museum of Denmark in Copenhagen.

Earliest rattles were made of wood or clay. While early examples are unmarked, those dating from the 18th century and beyond were more likely to be made of silver and should have hallmarks, usually found on the handle mount.

According to the website for the British AC Silver Co. “Early rattles featured coral handles…(because) a coral handle was the perfect antidote for teething babies, as it was both smooth and cool. (Also), coral was considered to be a means of guarding a child against witchcraft,” a belief dating back to Roman times “where babies’ cradles would be festooned with coral hung on string to defer evil forces. Although this practice declined, the reputation of coral as a protective device continued.” Some of these rattles used mother of pearl or ivory handles rather than coral for a baby to chew.

At least intuitively aware that later fancy rattles with multiple pieces could pose hazards to babies playing with them directly, many of the early 18th- and 19th-century examples were made for the belts of moms or nursemaids, where they could be shaken to distract a restive baby rather than given to the baby directly. Some portraits of babies show rattles pinned to their dress or hung around their neck.

Hazards from some rattles have continued into the present day. In 2006, the iconic Tiffany Co. paid a $262,500 fine for failure to report a hazard posed by its silver infant teething rattle. The circular rattle contained a central bar that was vulnerable to breakage and the release of the small animal figures on the bar, which posed a choking risk to babies; in at least one of three reported examples of breakage, a tiny animal was found in the baby’s mouth – luckily, before he had time to swallow it. In the settlement, “Tiffany denies it violated the Consumer Safety Protection Act by failing to report defects with its…rattles in a timely manner.” By the way, these rattles retailed for a mere $150!

The famous Jean-Jacques Rousseau was not a fan of rattles or other toys, not because they were physically dangerous to babies but because they were, shall we say, frivolous. “A little twig covered with its own leaves and fruit, - a poppy-head, in which the seeds can be heard rattling, - a stick of liquorice (sic) he can suck and chew, these will amuse a child quite as well as the splendid baubles, and will not disadvantage him by accustoming him to luxury from his very birth” (Rousseau, Jean-Jacques. Émile, ou De l’éducation). 

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com. ​

Most Native American jewelry consists of silver with natural stone or shell insets. However, those purchasing it should be aware that Native American jewelry has been widely imitated by non-Native sellers; for those who care about authenticity and artisanal craftsmanship, my advice is to buy from Native American artisans and sellers directly. Such work will be signed in the metal. Native silversmith families often consist of multiple generations working in the field.

Native American jewelry has been available through auctions and other sales venues for centuries. Most of what is readily and affordably available is of mid-to-late 20th century vintage. The forms artists mostly favor are bracelets, rings, and necklaces -- for the latter, squash blossom necklaces being a favorite. These necklaces consist of a multiple string of stone medallions culminating in a large medallion at the base of the necklace.

This column focuses on the three main groups of Native American nations, among whom I’ve chosen just a few of the most famous (For those not familiar with the terminology, what white folks used to call “tribes” are called nations today because, by treaty, they have separate national status within U.S. boundaries - a country that, after all, was completely theirs before European settlers arrived).

Navajo jewelry

Wil Vandever was the fourth eldest of 17 (!) children in his family. He learned the art of silversmithing from his wife, Cora, whose name he adopted as his own middle name. His work used high-grade stones. It was especially valued in Japan, and much of his work went there. Vandever died in 2018 at the age of 67 after a five-year battle with colon cancer. As with most Native silversmiths, the family’s silverwork remains multi-generational. One of the characteristics of his heirs’ work is use of a variety of different colored stones.

Robert Kelley is not as generally well-known as some other Navajo silversmiths though his work won several awards. He worked in a variety of designs on rings, pendants, and bracelets, often using feather motifs. His signature in silver is just his name, “Robt Kelley.’ He died in 1991.

Hopi jewelry

The Hopi nation in North Central Arizona is devoted to pacifism. Hopi artisans are best noted for their overlay designs hand carved directly into the silver and without stones. Eventually, the inner layer of the design develops a dark patina that contrasts with the rest of the silver. These designs are often intricately carved into everything from rings to bracelets to concho belts. Hopi silversmiths usually sign their work with pictographs rather than letters. These include, among others, Marcus Lomayestewa, Ricky Coochwytewa, and Bradley Gashwazra (signing with the initials BG rather than a pictograph). Hopi culture is also noted for its pottery and kachina dolls.

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com. ​