I’m talking about the Boomers. They’re growing old, down-sizing, divesting, even beginning to die off in ever-growing numbers. All of that stuff that they are/were collecting that reminded them of their childhood is fast becoming passé. The generations behind them could give a twit about coonskin caps, Roy Rogers lunch pails, or (danger! danger! Will Robinson!) Lost In Space memorabilia. Consign it to auction now or your kids will wonder which part of your brain was damaged as they dump all of that junk into the nearest landfill.

The Boomers’ parents hoarded stuff, too. Americana collectibles, for instance, was one of their strong favorites, which is practically a dead-in-the-water category right now. Think: butter molds, cut glass, souvenir spoons, etc. Those folks (the Boomers’ parents) are in their high 70′s, 80′s, or 90′s now – or they have already passed on. Consequently, the Boomers are the ones stuck with their parent’s stuff, and they don’t want butter molds!

Get a grip on reality, people. Stop buying all of the collectible crap that piles up along the wall until it threatens to cascade onto passersby. Furnish your home with top quality furniture, Oriental rugs, and art, and then stop. Put the rest of your assets into annuities, bonds, stocks, or other assets that don’t accumulate dust.

Accredited members must complete an educational regimen similar in difficulty to a Master’s degree program. They are tested in appraisal theory, principles, methodology, and ethics. The Board of Examiners of The American Society of Appraisers reviews their written appraisal reports and work log (a minimum of 4000 billable hours). Members have to pass a Federal test called the USPAP (yoos-pap). And like many doctors, they are tested in an area of specialty of their choice, e.g., art or antique furniture, etc. Furthermore, as with most professions, members are required to satisfy a continuing educational program mandated by the professional society. All of this takes a vast amount of time and considerable resources.

Is it worth it? Yes. You as the property owner can know automatically that a member with a designation after their name (ASA) meets the highest standards for professional appraisal service.

Can’t anyone place initials after their name? No. It is against the law and perpetrators are prosecuted just as they would be if they claimed to be a medical doctor. Look for the designation after your appraiser’s name. Ask what it stands for and to which society he or she belongs. Also, look for the logo of the member’s society. Logos can only be used by accredited members.

• Carder or Carter: A tradesman that uses a wire brush to straighten tangles fibers, e.g. wool, cotton, flax, hemp.
• Chandler: One who makes or sells candles; a retailer of specific goods, a ship’s chandler.
• Cooper: A tradesman named after his occupation, barrel making.
• Collier: A tradesman named after his occupation, coal hauling or shoveling.
• Cartwright: A tradesman named after his occupation, a maker of carts or wagons.
  
• Draper: A tradesman named after his occupation, cloth merchant.
• Ford: A tradesman named after the service he provides, river crossing.
• Fuller: A tradesman that gathers folds in cloth garments.
• Glazier: A tradesman named after his occupation, installing glass into windows and doors.
• Hackney: A tradesman who drives a coach; today we call them taxis.
• Hanger: A tradesman named after his occupation, wallpaper hanger.
• Hunter: A tradesman named after his occupation, hunting.
• Miller: A tradesman named after his occupation, milling grain for bread.
• Porter: A tradesman named after his occupation, carrying.
• Saddler: A tradesman named after his occupation, making saddles.
• Sawyer: A tradesman named after his occupation, one who saws wood.
• Sexton: A blue collar employee of a church charged with ringing the bells, daily upkeep, and sometimes grave digging.
• Shipwright: A maker of ships.
• Skinner: A tradesman named after his occupation, skinning animals.
• Smith: A tradesman who fashions a product from raw materials, e.g. blacksmith (steel), silversmith, etc.
• Tanner: A tradesman named after his occupation, tanning animal hides.
• Taylor: A tradesman named after his occupation, maker of clothes.
• Turner: A tradesman who turns wood or metal on a lathe, e.g. table legs, spokes, spindles, etc.
• Verger: One who carries the verge or other emblem of authority before a scholastic, legal, or religious dignitary in a procession.
• Weaver: A tradesman named after his occupation, the weaving of textiles.
• Wheeler: A tradesman named after his occupation, a maker of wheels for carts or wagons.

RE: Wikipedia: “The Stolen Valor Act of 2005 (the Act), signed into law by President George W. Bush on December 20, 2006, is a U.S. law that broadens the provisions of previous U.S. law addressing the unauthorized wear, manufacture, sale or claim (either written or verbal) of any military decorations and medals. It is a federal misdemeanor offense, which carries a punishment of imprisonment for not more than 1 year and/or a fine; the scope previously covered only the Medal of Honor.

The Act was first introduced in the U.S. House of Representatives on July 19, 2005 by Representative John Salazar, a Democrat from Colorado, as H.R. 3352. It was introduced into the Senate by Senator Kent Conrad, a Democrat from North Dakota, on November 10, 2005 as S. 1998. The Senate version was passed unanimously on September 7, 2006. The Senate version then went to the same House Judiciary Committee that held the House version. The Act briefly stalled, but the House subsequently passed the Senate version, S. 1998, on December 6 2006.

The purpose of the Act is to strengthen the provisions of 18 U.S.C. § 704 by broadening its scope and strengthening penalties. Specific new provisions in the Act include: granting more authority to Federal law enforcement officers, extending scope beyond the Medal of Honor, broadening the law to cover false claims whereas previously an overt act had to be committed, covering mailing and shipping of medals, and protecting the reputation and meaning of military heroism medals. Under the act, it is illegal for unauthorized persons to wear, buy, sell, barter, trade or manufacture “any decoration or medal authorized by Congress for the armed forces of the United States, or any of the service medals or badges awarded to the members of such forces.” In the 18 months after the act was enacted, the Chicago Tribune estimates 20 prosecutions. The number is increasing as awareness about the law spreads.”

This inquiry was sent to me a couple of years ago via email. It was such a good question that I passed on the dialogue to the other professional Members of the Richmond Chapter of the American Society of Appraisers and to the Regional Governor for the Chapter at that time. The answer was an excellent example of professional networking.

Question: “I am a consulting arborist. I sit on the Council of Tree and Landscape Appraisers, a council of representatives from the “green industry” that writes guidelines for the appraisal of trees and landscapes. We are currently working on the 10th edition of our Guide for Plant Appraisal. The primary thrust of tree appraisal is to treat trees as personal property, when appropriate, and appraise with a cost approach. A depreciated replacement cost method is most used. We have the mechanics down pretty well after nearly a century of progress. The Council is now trying to get arborists to understand more about the greater world of appraisals. My question regards the use of premiums. Can we assign premiums to the appraised property to raise the opinion of value? For example, I appraise a tree in Mrs. Jone’s front yard, and determine a value based on the usual characteristics. Across the street is an identical (for purposes of discussion) tree in a city park. The park tree has local historical significance. Local residents regard it highly. Not so for Mrs. Jone’s tree. If I use the same approach and method to appraise for each tree, I will get the same result. Yet the park tree would seem to carry a higher value. I recognize that “value to whom” comes into play, but I’m not sure how I would factor that in. So back to the question: is there a way to add a premium for some special significance?”

Answer: This is an interesting valuation question, one that I haven’t been asked before, but not unlike those asked before pertaining to the value attribute celebrity.

To illustrate the attribute of celebrity let’s use two physically identical cookie jars. One jar is offered at auction without provenance. The other is offered at the same auction house at the same auction sale but with an Andy Warhol provenance (this scenario really happened!). The difference in the two hammer prices would be the “celebrity” premium if indeed there is a difference (and we know there would be), if argued clearly to a reasonable mind. One such example would not be enough to draw a conclusion. The “premium” will vary between cookie jar forms (e.g. plain, figural, etc.), between cookie jars and other types of Warhol properties (e.g. furniture, etc.). With persistence one might eventually collect enough data to draw a conclusion as to the average percentage Warhol-anointed properties have; however that percentage would not be universal. Other celebrities will have a different perceived premium. Furthermore, each celebrity premium will fluctuate due to market forces the very same way that the stock market fluctuates, both up and down.

I cannot imagine that the Replacement Value of a park tree would be anything other than the total cost to buy and plant a new replacement tree of the same species, age, size, gender, etc., including, of course, a continued maintenance policy (watering, fertilizing, etc.) to assure that the tree survives for a realistic duration (five years?).

But, if an individual park tree were associated with and was benefited by a provenance that lent added value, then one might successfully argue that the tree’s interesting past provided celebrity (and added value) to the tree, as with the Warhol cookie jar. Perhaps the subject tree was once attacked by a future politician or maybe it provided a platform from which was hung a notorious ruffian. If a tree of such notoriety were damaged or removed, then an argument might be formulated to suggest added value. Whether the argument prevails or not is a matter for a Court to decide if there is a dispute. I suspect that the opposing side would argue that the tree is an element of the real property upon which it lives, and thus, is in effect real property. Or, it might be argued that a tree conveys with the real property, as would a major appliance.

I am afraid my mind is much too practical a muscle for me to be able to stretch it in the manner lawyers extend the boundaries of reason.

Show #101 :::  Mr. Grove values a 19th century buttocks basket. (Premiered 8 JAN 11). Molten eyeglasses from The Great Baltimore Fire, a WWII era Colt 45 pistol, a 1920′s Hawaiian Ukelele, and a George Washington letter. Feature segment: John Davis visits the Fire Museum of Maryland.

Show #102 :::  Mr. Grove values a 19th century Simon & Halbig antique doll. (Premiered 15 JAN 11). Collection for rare pens from the 1930′s, a book published by Captain Edward Bligh of “Mutiny on the Bounty”, a Simon & Halbig antique doll, and a Japanese netsuke carving. Feature segment: Rhea Feikin visits the Dixon Antique Auction in Crumpton.

Show #103 :::  “Freedom Paper” releasing an American slave, a Tiffany vase, Patek Phillipe pocket watch, and French cameo portraits. Feature segment: Rhea visits the Maryland Historical Society and sees the actual Star Spangled Banner. (Premiered 22 JAN 11).

Show #104 :::  Mr. Grove values a 19th century stoneware 4 gallon crock. (Premiered 29 JAN 11). Items including a 1918 Navy Recruiting Poster, a French Tea Service from the 1880′s, Southwestern Indian Blackware pottery, and 1930′s Pinnell Tricycle with wagon. Feature segment: John meets a 90-year-old man who restored a 1936 Cord automobile, only to sell it, and then receive it as a gift from his sons in 2010. (Premiered 29 JAN 11).

Show #105   :::  Mr. Grove values a 19th century fireman’s cape. (Premiers 5 FEB 11). Music box purportedly owned by Baltimore’s Betsy Patterson, who had married Napoleon Bonaparte’s brother; a Japanese print, an 1840′s dress army dress sword, 1950′s space robot toy, and 19th century fireman’s cape. Feature segment: Rhea takes a tour of the Radio/TV Museum.

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Think how these technologies have changed the world. Each caused the stock market to surge and each lead to the proliferation of countless spin-offs that we all use today. Perhaps the next great leap that will transform the world will be A.I. – artificial intelligence. When we can speak to a computer and it can sense implicitly what it is that we mean from analyzing our words, as well as our tone, our nuance, and our mood, then A.I. will have come of age at last. If artificial intelligence is to be our next great breakthrough, what were some of the previous inventions that had the same effect?

Duh, fire? Well, yes, but let’s skip to the 19th century for brevity’s sake or we’ll overload the servers. There are probably enough such inventions even in the 19th century to overload our systems, too, so only a handful will be identified in this posting.

One is photography. In 1839 Louis-Jacques-Mandé Daguerre (French: 1787-1851) invented the first commercially viable photographic process, the daguerreotype. In a little more than a year it swept the globe and was used widely on every inhabited continent because it was relatively simple and inexpensive. Prior to the “dag”, the only images were drawings and paintings which were typically too expensive ($300+) for the average consumer ($1 a day).

The 19th century saw a great number of globe-sweeping technologies which included steam engines, railroads, the McComick reaper, the telegraph, the internal combustion engine, and one invention that we seldom think of – barbed wire.

No way, you say. Actually, yes way. Barbed wire was one of those globe-sweeping inventions that transformed the landscape – literally – and was accepted worldwide in short order. Learn all there is to know about this prickly stuff now – click.

One thing that the self-employed all have in common is commitment. Ditch your hobbies, toss out those romance novels, stop watching TV before dark; you have a job to do and it’ll be 24/7/365 until further notice! That’s right, even in your dreams, Goldilocks, even in your dreams. Every waking moment you need to breathe your craft. Let it take over your life, or get a real job working for some dork. Not an option? See, you’re in the right frame of mind already.

If you’re identifying with this scenario you’re probably not yet a listed artist. You need to work toward changing that. What’s a listed artist, you ask? A listed artist is any artist that appears in the on-line databases that feature auction results. Databases such as AskArt, ArtPrice, P4A, ArtFact, ArtNet, etc., have symbiotic relationships with auction houses. The auction houses report results to the databases. The databases broadcast the results (advertise) and collect subscriptions from anyone that searches their data. Why would anyone search their data? To find out what something is worth, silly. Dealers, appraisers, curators, and collectors mine the databases to determine value, prominence, market trends, artists’ biographies, etc. If you’re not in there, you’re invisible in the marketplace. You need to be visible globally, not just in Hollow Stump, Arkansas. Becoming a listed artist is a fundamental step.

Check out the on-line databases. Figure out where paintings like yours sell most frequently. Choose an auction house nearest to where you are that co-operates with the databases. Sell one or more of your pieces at auction and provide a biography (just the facts, jack) to accompany the consignment. The after-auction results will find its way to the databases, presto! You’re listed. Presto, you’re visible world-wide. As a listed artist, you can modify or submit updates to your biography in the databases as you earn accolades, win awards, or present your collections in shows. It’s a bit like carrying around your portfolio, only much more convenient.

Cautionary Note: Fine art by unknown contemporary artists typically does not do well at auction. A $1200 gallery piece might only bring $300 at auction. Don’t slit your wrists, yet. Remember, you’re a nobody. Getting listed is the first step in the process of the metamorphosis your seek, becoming somebody. Once you’re listed, collectors in Kathmandu can log-on and read your biography. Over time interest will build. You need to be prolific, paint or sculpt daily; the more you pump into the market, the greater the likelihood of your success. That’s why you need to toss the romance novels and ditch the TV. Until you’re counting paintbrushes instead of sheep as you lie awake, you ain’t there yet.

Need to identify your old pot? Go to www.pottery-english.com. And if you are trying to decipher the English registry mark on an old pot, go to Phoenix Masonry.