A Brief History of the Island of the Chamorro People

Guam, a territory of the United States, is recognized as “Where America’s Day Begins.” As part of the Mariana archipelago in the northern Pacific Ocean, it is the westernmost point of the United States. The island, measuring 210 square miles, was first settled about 1500 B.C. by Austronesian peoples who sailed throughout the Pacific and Indian Oceans. The Chamorro, the indigenous population of Guam, are their descendants. Chamorro is also written CHamoru. The capital CH reflects the native orthography and pronunciation.  The Chamorro name for Guam is “Guåhan,” from the word for “To have,” believed to be a reference to the island’s natural resources.

The Austronesian settlers and their descendants introduced tubers like yams and taro to the island, farmed rice, harvested coconuts, and caught fish, eels, and other seafood. Archaeologists find pottery fragments and stone, shell, and bone tools and ornaments from these early inhabitants. Some of the most notable material artifacts from the early Chamorro are the latte stones, two-part pillars consisting of a shaft and a round cap, that served as foundations for structures.

Cave art is another legacy of the early Chamorro people. One of the most famous examples, Gadao’s Cave, is on the National Register of Historic Places. Its pictographs of human figures are believed to tell the story of Gadao, a legendary chief renowned for his feats of strength.

The first European contact with Guam was made by Ferdinand Magellan in 1521. He and his crew referred to it as the “Island of Sails” after the hundreds of outrigger canoes that met their fleet. Spain claimed the island in 1565, using it as a port of call for ships traveling between Mexico and the Philippines.

Jesuit missionaries arrived in Guam in 1668. Chief Kepuha (also spelled Quipuha) agreed to be baptized and granted them land to establish the first Catholic church in Guam. But tensions rose as the Chamorro resisted Spanish colonization and the Jesuits broke serious cultural taboos, and the Spanish-Chamorro Wars lasted from about 1670 to the 1690s. The wars left the Chamorro population drastically reduced from casualties and disease. Spain maintained control over Guam until 1898.

The United States captured the island during the Spanish-American War, and Spain ceded control with the Treaty of Paris in 1898. The United States established a naval government. The island was an important site during the Philippine-American War, World War I, and World War II. Japanese forces invaded Guam on December 8, 1941, the same day as the attack on Pearl Harbor, and occupied the island until 1944. The United States recaptured it in the Battle of Guam from July 21 to August 10, 1944. Since 1945, July 21 has been celebrated as Liberation Day in Guam.

Guam achieved a degree of self-governance through the Guam Organic Act of 1950, which made the island an unincorporated territory of the United States and granted its residents citizenship. The act established an executive branch headed by a governor, a legislature elected by Guam residents, and a court system. The governor was initially appointed by the federal government, but, after the Guam Elective Governor Act of 1968, is elected by Guam’s residents.

As a United States territory, Guam has a nonvoting congressional representative, and residents can vote in presidential primaries, but not in presidential elections.

As America approaches its Semiquincentennial, Guam’s history reflects the nation’s expansion and the multitude of people who comprise it, and its status as a territory raises questions of what it means to be an American.

Honoring the 250th: Guam’s Role in America’s Celebration

Guam is marking America’s Semiquincentennial by celebrating Chamorro culture while also recognizing the island’s longstanding connection to the United States through military service. Community traditions remain central to the observance, with regional festivals and village fiestas continuing to serve as gathering points where history, culture, and identity are shared across generations.

Material culture plays a meaningful role in these celebrations. Traditional crafts, foodways, music, and dance are not only preserved but actively practiced, offering a living connection to Guam’s past. Events tied to the anniversary often incorporate demonstrations, performances, and displays that highlight Chamorro heritage, reinforcing the idea that history is carried forward through everyday objects and cultural traditions.

In October 2025, Guam became the first U.S. territory to receive the America 250 flag, part of a nationwide initiative traveling through all states and territories ahead of July 4, 2026. The ceremony, held at George Washington High School in Mangilao, brought together community members, students, and local leaders in a symbolic recognition of Guam’s place within the broader American story.

As preparations continue, Guam’s role in the Semiquincentennial reflects a balance of local identity and national connection. Rather than focusing solely on large-scale programming, the island’s observance emphasizes participation at the community level, where cultural traditions, shared history, and civic pride come together in meaningful and lasting ways.

Guam’s Living Art, Craft, and Collectibles Heritage

Some of the most meaningful expressions of Guam’s history can be found in the traditions and objects that continue to be created and used today.

Guam has a thriving arts scene. Contemporary artists take inspiration from the island’s natural beauty and from Chamorro history and practices. Chamorro music, dance, and performance arts are still practiced and taught. So are traditional arts and crafts like canoe building, weaving, carving wood, shell, stone, and bone, blacksmithing, and tattooing. The Chamorro Village is a popular market where artists and vendors sell local goods.

Tourism is an important part of Guam’s economy. Collectibles associated with the island include souvenirs, World War II memorabilia, and local art.

Information about contemporary and notable past artists in Guam is available at the Guam Council on the Arts & Humanities (guamcaha.org) and Guampedia. Some master artists to know include weavers Elena Cruz Benavente (1905 – 2005), Lucia Fernandez Torres (1933 – 2007) and Floren Meno Paulino (1925-2022); jewelry makers Julie “Jill” Quichocho Benavente and Ben “Sinahi” Del Rosario; woodcarvers Robert Philip Taitano (1938 – 2002) and Segundo Blas (1917 – 2004); and Francisco “Frank” C. Lizama, Guam’s last Master Blacksmith, who passed away in 2021 but whose students continue the Lizamas Forge.

Looking Ahead: America 250 Guam Calendar Highlights

June 26 – July 10, 2026—Great American State Fair
The Guam Visitors Bureau is sending performance groups to Washington, D.C. to perform in America 250 celebrations. The bureau encourages performances that embody “the seven pillars of CHamoru culture—inafa’maolek (interedependence), respetu (respect), mamahlao (humility/modesty), chenchule’ (reciprocity), inagofli’e’ (kindness/compassion), minagåhet (truth), and espiritu (spirituality).”

July 4, 2026 — Statewide America 250 Celebrations
Communities across Georgia will mark Independence Day with enhanced programming, including public readings of the Declaration of Independence, historical reenactments, and local Semiquincentennial festivals.

July 4, 2026 – VetFest 2026
Communities across Georgia will mark Independence Day with enhanced programming, including public readings of the Declaration of Independence, historical reenactments, and local Semiquincentennial festivals.

July 8, 2026 — Simultaneous Reading of the Declaration of Independence
A coordinated national observance bringing communities together through shared civic reflection.

July 21, 2026—82nd Liberation Day
The annual celebration of the end of the Japanese occupation of Guam during World War II is one of the island’s biggest events, featuring a mile-long parade, multi-day carnivals, a Liberation Day Queen contest, and memorial ceremonies.

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An upcoming charity auction tied to one of television’s most recognizable game shows is offering fans a chance to own a piece of pop culture history while supporting a meaningful cause.

In recognition of World Wish Month, Make-A-Wish has launched its “WishMakers Wanted” campaign, highlighting the ongoing need for support as thousands of children across the United States continue to wait for a wish. As part of the effort, Wheel of Fortune is hosting a special auction benefiting the organization.

Running in early April, the auction features a range of fan-focused items and experiences, including a show-worn Bob Mackie dress from longtime co-host Vanna White, her signature “Glamjamas,” signed wheel wedges from White alongside hosts Pat Sajak and Ryan Seacrest, and a VIP experience to attend a taping of the show at Sony Pictures Studios.

Proceeds from the auction will go directly toward granting wishes for children diagnosed with critical illnesses. According to Make-A-Wish, a child in the United States is diagnosed with a critical illness approximately every 20 minutes, underscoring the ongoing demand for support.

The “WishMakers Wanted” campaign encourages individuals to participate in a variety of ways, from donating and volunteering to simply raising awareness. The organization notes that more than 50 people can play a role in fulfilling a single wish, reflecting the broad community effort behind each experience.

For collectors, the auction also presents an opportunity to acquire unique television memorabilia tied to a long-running cultural institution. Items associated with Wheel of Fortune, particularly wardrobe pieces and signed elements, have long held appeal for fans and collectors alike.

The auction is open for a limited time, with additional details and bidding available through Make-A-Wish’s official charity auction platform here: https://www.ebay.com/e/charity/make-a-wish.

Images: Wheel of Fortune WishMaker Auction – eBay.com.

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New York – This spring, Bonhams will present its live American Art sale on April 23 in New York at its new U.S. flagship location, 111 West 57th Street. Spanning 94 lots, the sale brings together a refined array of historically significant works, from early 19th century to 21st century American artists, including Thomas Wilmer Dewing (1851–1938), Edward Henry Potthast (1857–1927), Norman Rockwell (1894–1978), LeRoy Neiman (1921–2012), and Bob Ross (1942–1995) among others.

“At our new U.S. flagship on West 57th Street, our American Art sale showcases landmark works across key eras and movements, in the category,” commented Aaron Anderson, Specialist, Head of Sale, American Art at Bonhams.

Featuring significant examples by American Tonalists, Impressionists, Regionalists, and key Modernist and Postwar figures, the selection brings together major voices across the 19th, 20th, and 21st centuries, while the third major offering of Bob Ross works introduces an exciting and culturally rich component. Furthermore, we are incredibly proud to present the private selling exhibition, Embracing Elegance: Selections from the Huber Family Collection, one of the most celebrated American Art collections – beautifully complementing our sale and enhancing Bonhams cultural programming.”

Headlining the sale is Figures with Blossoms, a recently discovered three-panel painted screen masterwork by one of America’s foremost Tonalist painters, Thomas Wilmer Dewing (1851–1938). Estimated at $300,000 – 500,000, the present work stands among Dewing’s most ambitious achievements and has remained in the same family collection for more than 50 years. Portraying three elongated, classically draped female figures set within a softly atmospheric field of white blossoms and diffused green light, Figures with Blossoms is one of only a small group of multi‑panel screens Dewing created at the height of his career and is widely regarded as a landmark in his oeuvre.

Another notable work this season is Children at Play, Brighton Beach by American Impressionist Edward Henry Potthast (1857–1927), estimated at $150,000 – 250,000. Rendered with his signature brilliance in light, color, and movement, the work stands as a radiant example of his celebrated depictions of New York seaside leisure and ranks among Potthast’s most accomplished contributions to American Impressionism. Pennsylvania Impressionist Robert Spencer’s (1879–1931) A River Town, painted circa 1920, is another standout work in the sale. Estimated at $150,000 – 250,000, it exemplifies Spencer’s acclaimed depictions of the working‑class river communities of Bucks County and is distinguished by an exceptional exhibition history across major American institutions. 

Other highlights include Norman Rockwell’s (1894–1978) Father and Boy: Church, created as the spring image for Brown & Bigelow’s Four Seasons 1961 calendar, estimated at $100,000 – 150,000; and Thomas Hart Benton’s (1889–1975) Shocking Corn, 1945, estimated at $80,000 – 120,000 and regarded as one of his most compelling interpretations of agricultural labor. Additionally, two monumental works by LeRoy Neiman (1921–2012) will be offered: Bunny Discotheque, a vibrant expressionistic painting that nods to Neiman’s long relationship with Playboy, estimated at $100,000 – 150,000; and his 1971 painting Roulette, estimated at $70,000 – 100,000. 

The sale will also present the third major offering of works by Bob Ross (1942–1995), presented on behalf of American Public Television (APT), which has pledged to direct 100% of its net proceeds to support public television stations nationwide. The offering comprises four works by the beloved Joy of Painting host, all of which showcase Ross’ iconic Wet‑on‑Wet Technique®. Leading the selection is Autumn Images, completed live on-air in 1990 during Season 22 episode 1 of the show, and estimated at $40,000 – 60,000. The remaining three works, all created for Ross’s Joy of Painting instructional books, include: Purple Mountain Range, 1993, estimated at $35,000 – 55,000; Mountain Seclusion, 1990, estimated at $30,000 – 50,000; and River’s Peace, 1991, estimated at $25,000 – 45,000.

From April 13–23, the department will present Embracing Elegance: Selections from the Huber Family Collection, a private selling exhibition featuring 18 works from one of the most admired American art collections. Bringing together pieces featured in landmark 2011 presentations by the Hood Museum of Art and the High Museum of Art, the selection reflects the Huber family’s refined taste: pastoral landscapes, poetic still lifes, and introspective depictions of women. Anchoring the presentation will be two paintings by one of the foremost American realists of the early twentieth century, John Sloan (1871–1951): Fishing for Lafayettes (1908) and Tittering Girls (1915). Alongside Sloan, the exhibition will also feature standout works from other major American artists, including Thomas Wilmer Dewing (1851–1938), Joseph Rodefer DeCamp (1858–1923), and John Singer Sargent (1856–1925), among others. 

About The Bonhams Network  

Bonhams is a world-renowned heritage auction house founded in 1793. Backed by its global network of auction houses spanning the UK, the U.S., Europe, and Asia-Pacific, Bonhams offers the widest range of collecting categories at all price points. The auction house is internationally recognized for its leadership in Fine Art, Collector Cars, Luxury, and Iconic Private Collections, supported by flagship locations in London, New York, Paris, and Hong Kong.  

Renowned for its bespoke client service, exceptional expertise, and dedication to local market relationships, Bonhams presents over 1,000 sales annually across more than 60 specialist categories, uniting collectors and connoisseurs around the world. 

 For a full list of forthcoming auctions, plus details of Bonhams specialist departments, please visit bonhams.com 

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Copper Canary is a premier jewelry store near Boise, offering fine jewelry, antique pieces, custom design, and expert jewelry repair — proudly serving Meridian and the entire Treasure Valley.

www.coppercanaryboutique.com

Email: info@coppercanaryboutique.com

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From ceramics in full bloom to a Fabergé masterpiece that shattered expectations, the April issue of Kovels Antique Trader welcomes spring with a fresh mix of artistry, history, and market insight.

This month’s cover story celebrates the enduring appeal of ceramics, with vibrant forms and seasonal color setting the tone for an issue that leans fully into the artistry of clay. Inside, readers will find a range of ceramic-focused features, from the wearable designs of Carol Halmy to a closer look at redware, once humble, now increasingly sought after by collectors.

The issue also explores the imaginative world of Disney ceramics through the work of Evan K. Shaw, while a feature on Handwork 2026 connects contemporary craft to America’s 250th celebration, placing handmade traditions at the center of a national moment.

Seasonal collecting gets its due in “Hoppy Collecting,” where Easter ceramics, from sacred symbols to playful decorations, highlight the ways spring traditions continue to shape the marketplace. That sense of nostalgia carries into this month’s Editor’s Note, which reflects on childhood Easter baskets, backyard egg hunts, and the lasting pull of traditions passed from one generation to the next.

Elsewhere in the issue, a short feature spotlights the 1913 Fabergé Imperial Winter Egg, which soared past $31 million at auction, setting a new world record and reminding collectors just how high the market can climb at its most rarefied levels.

On the market side, Sales Reports deliver results collectors can use, with highlights including works by George E. Ohr, Royal Doulton Bunnykins, and a range of art pottery that underscores continued demand across categories.

From everyday pottery to imperial treasures, the April issue proves that ceramics—like spring itself—are full of renewal, beauty, and the occasional surprise.

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April Fool’s Day is for jokes and hoaxes, so maybe it’s appropriate that no one knows exactly how the holiday came to be. There are references to playing pranks on April 1 as early as the 16th century, but the custom appears to have been well established by then. Historians have come up with various possible origin stories; although some of them, like a Boston University professor’s claim that it began with a medieval jester being crowned king, are April Fool’s jokes themselves.

Historians have drawn comparisons to earlier festivities marked by jokes, merriment, and the reversal of societal rules. In the medieval Feast of Fools, celebrated on January 1, religious ceremonies were parodied by temporarily elevating lower-ranking clergy to higher ranks. To go back even farther than that, the ancient Roman festival of Saturnalia, observed at the winter solstice, included electing a temporary King who usually gave silly, nonsensical orders; possibly resembling the “fool’s errands” of April Fool’s Day. Another ancient Roman celebration, Hilaria, observed at the spring equinox, involved dressing in disguises and imitating people in power.

A common theory for the origin of April Fool’s Day is that it started with the change from the Julian to the Gregorian calendar in 1563. Following the Julian calendar, the year began at the end of March. The Gregorian calendar, however, starts on January 1. Those who continued to observe the Julian new year were apparently regarded as fools.

Another possibility comes from “fool’s spring,” a brief stretch of warmth and sunlight in late winter and early spring. It might fool you into thinking winter is truly over, but then the cold weather comes back. (Where I am writing this, the temperatures are rising to the 70s at the end of March and expected to drop to the 40s on April 1.) The original “April fools” may have been people who were fooled by a brief warm spell and planted their crops too early, something with more serious consequences than a simple practical joke.

The French term for April Fool’s Day, “Poisson d’Avril,” literally “April fish,” is also a general expression for a foolish or gullible person. It may be a reference to newly hatched fish being plentiful and easy to catch in April. A favorite April 1st joke is to attach a paper fish to someone’s back without their noticing it. You can find French April Fish postcards from the late 19th to early 20th centuries, with humorous greetings or verses and usually a photograph of a person holding a fish or an anthropomorphized fish.

No matter how it started, there’s apparently something about the beginning of spring that makes us want to celebrate with laughter and levity. The origins of the holiday may not matter as much as the fun we have with it. After all, if there’s one truth about April Fool’s Day, it’s that you can’t take it too seriously.

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As the 2026 Major League Baseball season begins, the frenzy for Shohei Ohtani collectibles shows no signs of slowing down. The jersey Ohtani wore in the 2026 World Baseball Classic sold for $1,500,010 at MLB Auctions. According to ESPN, this is an auction record for Ohtani’s jerseys.

Ohtani played for Japan in the World Baseball Classic. The record-setting jersey came from the March 6 game, in which Japan beat Chinese Taipei 13-0. Despite his exceptional talent for both pitching and hitting, Ohtani only hit during the 2026 WBC. In the March 6 game, he had five RBIs and hit a grand slam.

The sale also shows how quickly the market for Ohtani collectibles has grown. ESPN compared it to another Ohtani jersey from a World Baseball Classic game, which sold at MLB Auctions for $126,100 in 2023. He was already a standout player by then, with multiple MVP awards and other honors, but prices for his memorabilia hadn’t yet reached the heights they do now.

The 2026 WBC jersey isn’t the only Ohtani collectible to sell for more than a million dollars. In 2024, the baseball he hit for his 50th home run, becoming the first MLB player to hit 50 home runs and steal 50 bases in one season, made history again when it sold at Goldin for $4.3 million, a record for a game-used baseball. In 2025, his Topps 1/1 Gold Logoman Autograph card sold for a record $3 million at auction.

There’s more Ohtani memorabilia to come from the 2026 World Baseball Classic. Currently, his cap from the March 7 and March 14 games is available for bidding at MLB Auctions. The sale closes April 6, and, at this writing, bids have passed $30,000.

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Some of my earliest Easter memories stand nearly two feet tall.

My mother’s Easter baskets were not modest affairs. They were towering creations, brimming with plastic “grass,” an Easter coloring book and crayons, a new Easter hat for Sunday School, and crowned with a brand-new, stuffed Easter Bunny the size of a toddler. It was a basket meant for bounty and the promise of candy, coins, and pastel colored works of art.

On Easter morning, my mother would line us up and herd us down the hallway, still in our pajamas and slippers, toward the sliding glass door that led to our backyard. We knew what waited beyond it. The night before, we had carefully colored eggs using Paas dye tablets, lowering them into cups of jewel-toned water and watching as white shells transformed into streaked blues, greens, pinks, and yellows. By morning, those eggs, along with brightly colored plastic ones stuffed with our favorite candies, dollar bills, and the occasional quarter, were carefully secreted throughout the backyard. It was a good trick, given that most of it was covered in that short but sweet Southern California groundcover of choice, dichondra.

There was something magical about that ritual. There was the Easter morning wait for my parents to wake up and get their coffee, which nearly rivaled the angst of Christmas morning. The thrill of spotting a pastel egg tucked behind a shrub, snuggled in the ice plant, or peeking out of the holes in the concrete retaining wall. I would take off at full speed, not above strategically elbowing a sibling if it meant reaching treasure first. And finally, the way the basket grew heavier with every find. It was simple, yes, but it felt extravagant in the ways that mattered.

That particular joy can never quite be duplicated. Childhood rarely is. But like most parents, I tried. I built baskets. I hid eggs. I made sure the plastic grass clung to everything. My children grew up with their own Easter mornings, and in time, they recreated the tradition for their children. The baskets may change, and the candy brands evolve, but the instinct to create wonder remains remarkably steady.

The tradition itself stretches back far beyond our own backyards. Decorative eggs have symbolized renewal and rebirth for centuries, long before they became part of American egg hunts. German immigrants brought with them the legend of the Osterhase, an egg-laying hare who left gifts for well-behaved children. By the 18th and 19th centuries, the idea of children preparing nests for the Easter Bunny had evolved into woven baskets filled with eggs and sweets. Public egg hunts gained popularity in the United States in the late 19th century and continue today as community celebrations of spring and renewal.

For collectors, vintage Easter baskets, paper pulp eggs, celluloid rabbits, and early dye kits now tell that same story in tangible form. What once felt ordinary and fleeting has become, over time, an artifact of memory.

Last year, I experienced Easter in a way that has been foreign to my adult years. Instead of preparing baskets, I spent the morning with dear friends, JD and Victoria. To my complete surprise, they presented me with a vintage Easter basket of my own. It was thoughtfully filled with vintage treasures, a wind-up bunny (who currently sits on my desk), a rubber rabbit-duck, flower seeds, and, of course, chocolate and Peeps. It was both nostalgic and entirely new, a reminder that while traditions evolve, the impulse behind them does not.

They have already threatened to outdo last year’s treasure.

And I, for one, can hardly wait.

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When thoughts turn to pop culture, they don’t usually reach as far back into history as the 1800s. But long before we had online influencers, film stars, and recording artists ruling media, there was true royalty: Queen Victoria. It’s not like royals didn’t have sway in the 20th century, and they certainly still do now. Even at their highest points, though, Queen Victoria’s reach in comparison is still quite impressive. She led fashion trends throughout her reign as her well-documented accessory choices were shared with her subjects via burgeoning periodicals.

Mourning culture and the associated attire she wore swept the globe as major influences after the love of her life, Prince Albert, passed away in 1861. Even before then, she was an ardent admirer of Scotland, and the resulting Balmorality is proof that she donned tartan sashes that were affixed with pins at the shoulder or waist. And other ladies adopted the look, too. That’s where the name sash pin originated, as a matter of fact.

In the mid-1800s, it was common for women to wear fabric belts with a simple decorative slide at the front of the waist. As the Victorian era moved into the late 1800s, women continued to wear strips of fabric or wide ribbons around their waists, but they fastened decorative pins to them instead. These are the types of accessories we most often find referenced as sash pins these days.

Sash pins, which I’d really categorize as brooches due to their size, have some unique characteristics that stand out above and beyond other types of pins from that era. They were also substantially constructed so lots of them have survived and look good for their age. Collectors just beginning to learn about Victorian styles find this is an excellent place to start.

Recognizing Sash Pins

If I were describing the other types of Victorian pins collectors run across with frequency these days, I’d describe them as being on the dainty side. Sash pins, made from the late 1800s into the early 1900s, are just the opposite. They’re big, but saying that doesn’t really drive the point home about how different they are—they’re downright bold in comparison. I’m guessing this is because they were worn at the waist to emulate buckles, since they wouldn’t quite make the same statement in a smaller size. And speaking of mimicking buckles, some sash pins even have little faux elements that are meant to look like the actual prongs of belt buckles.

Beyond their size, they also have some other attributes worth noting, including the pin stems. Since these were used to pierce multiple layers of fabric, the stems are very thick to handily get the job done. The clasps on sash pins are the standard Victorian “C” clasp without a safety mechanism, but much larger to accommodate the hefty pin stems.
Shapes can vary a bit, but most are rectangular or oval. Occasionally, they take the shape of a freeform shield of sorts, and some have Art Nouveau styling. They’re often made of metal with a brassy look or a silver-tone finish, although some are actually made of silver. The casting of the metal work can be quite intricate and beautiful, even if no other embellishments are present.

When a sash pin does include stones of some sort, it’s usually one large unfoiled glass stone or an artsy glass cabochon of some kind. A few will have a smattering of small stones or enamel flourishes, but it’s usually more about the heavy metal settings than anything else when it comes to the overall look of a sash pin.

Marks on Sash Pins

Most sash pins aren’t marked. If you’re lucky enough to find one with a GNS stamp on it, you potentially have an all-star on your hands, since that’s the mark of George Steere, who manufactured this type of brooch in the early 1900s for a short period. Not all GNS examples are created equally, however. The ones with the most elaborate metalwork, including animals, fantasy creatures, intricate florals, and/or curled edges, tend to be the most valuable, exceeding $200 apiece. There are also unmarked examples of George Steere’s work, so you may get a bargain if you learn to recognize the details of his company’s designs. Many inexperienced sellers misidentify more ordinary, unsigned sash pins as GNS; however, so be sure to do your homework before splurging on one without a mark.

Another company that made sash pins c. 1900 was E.A. Bliss, the forerunner to Napier (not related to Bliss Brothers as some sellers purport). These have a fancy script mark reading EA & Co. in a circle and usually aren’t quite as substantial as the standard unmarked sash pin you’ll run across; in some ways, that makes them prettier. Prices are more moderate for examples with this signature, so you can expect to find them in the $50–$125 range most of the time.
A few other businesses made signed sash pins, but they don’t come up for sale often. And because the marks are unfamiliar to buyers, they don’t really add much value to an average-looking example.

More on Sash Pin Values

Even though they’re well over a century old now, there are still lots of sash pin options entering the antique jewelry marketplace. There are some exceptions for the very best examples, but most won’t sell for a lot more than $125. There are also many attractive options available for far less than that.

Plain metal pieces without much repoussé work usually bring the least. Generic black examples, which were fashionable with Victorian ladies in a more general sense rather than reserved only for mourning wear, can also be found at reasonable prices. The price goes up as the fancier a sash pin gets when filigree work, intricate motifs, and colorful glass stones are present.

Even so, a good number of sash pins can be purchased in the $25–$75 range, so it’s not impossible to put together an impressive collection that won’t completely max out your credit card. With affordable options like that, you don’t have to be a royal to collect like one.

PAMELA WIGGINS SIEGEL has been buying, selling, and collecting costume jewelry for more than 30 years. She is the author of Warman’s Costume Jewelry (Krause Publications) and the co-founder of Costume Jewelry Collectors Int’l, an organization dedicated to hosting events and providing educational resources for collectors. Visit her online at www.chicantiques.com and www.cjci.co.

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A Brief History of the Peach State

Georgia’s history begins with its Indigenous people.  From the earliest inhabitants of the Paleo era to the generations that thrived long before the first European settlers arrived. The First Peoples’ nations include the Cherokee and Muscogee, whose communities were deeply connected to the land and its resources. Established as a British colony in 1733 under James Oglethorpe, Georgia served as a strategic buffer between Spanish Florida and the English colonies to the north. Its early development was shaped by agriculture, trade, and, later, plantation economies tied to enslaved labor.

Georgia became the fourth state to ratify the U.S. Constitution in 1788. During the Civil War, it played a significant role in the Confederacy, with General William Tecumseh Sherman’s 1864 March to the Sea leaving a lasting mark on the state’s landscape and infrastructure. In the 20th century, Georgia emerged as a center of economic growth and social change, particularly during the Civil Rights Movement, while Atlanta grew into a major cultural and commercial hub.

Today, Georgia continues to balance its deep historical roots with modern innovation, making it a fitting participant in the nation’s Semiquincentennial observance.

Honoring the 250th: Georgia’s Role in America’s Celebration

Georgia is marking America’s Semiquincentennial through a coordinated effort led by the Georgia US250 Commission, which encourages communities across the state to participate in civic, cultural, and educational programming tied to the nation’s founding. As one of the original 13 colonies, Georgia’s observance places particular emphasis on Revolutionary-era history while also inviting modern audiences to engage with the state’s evolving story.

Material culture plays a meaningful role in Georgia’s programming. The Georgia Historical Society is leading initiatives such as Georgia at the US250, an exhibition and publication that interprets the state’s history through objects and documents drawn from its collections. These efforts highlight how physical artifacts, from everyday items to significant historical pieces, help tell the broader story of Georgia’s past.

Statewide programming extends into communities through exhibitions and educational initiatives. The Georgia Humanities Council is hosting Museum on Main Street: Voices and Votes, a Smithsonian traveling exhibition exploring American democracy, which will tour multiple Georgia communities from 2026 into 2027. Libraries and local institutions are also participating with lectures, discussions, and public programming that examine the nation’s history and its ongoing impact.

At the local level, cities such as Savannah and Roswell are developing their own commemorations, including citywide event calendars, cultural programs, and performances tied to the anniversary. Highlights include community celebrations, historical site programming, and performances like the May 3, 2026, America250 concert at the Roswell Cultural Arts Center, reflecting a blend of education and entertainment designed to engage a broad audience.

Across the state, Georgia’s America250 initiatives emphasize participation as much as preservation, encouraging communities to host public readings of the Declaration of Independence, incorporate Revolutionary themes into existing events, and create new programs that connect local history to the national story. Additionally, Museums, historic sites, and cultural institutions across the state are incorporating material culture into their programming, encouraging residents and visitors alike to explore the objects that define Georgia’s past. From preserved historic homes to regional craft traditions, these efforts reinforce the idea that history is not only recorded in documents but also in the physical items that have endured across generations.

Within that material culture, Georgia’s collectibles reflect a blend of Southern craftsmanship, agricultural history, and nationally recognized branding.

Georgia’s Craft and Collecting Traditions

Georgia’s collectibles heritage reflects a blend of Southern craftsmanship, agricultural history, and nationally recognized branding. For many collectors, the state is best known as the birthplace of The Coca-Cola Company, founded in Atlanta in 1886. The company produced a wide range of advertising and packaging materials, including tin signs, glass bottles, wooden crates, and promotional calendars. Today, Coca-Cola memorabilia remains one of the most widely collected categories of American advertising, with strong ties to the state’s identity. Coca-Cola collectors should be sure to take in the Cedartown Museum of Coca-Cola Memorabilia.

Georgia’s “Peach State” nickname, rooted in its long history of producing exceptionally high-quality fruit, remains a legacy reflected in a wide range of collectible ephemera. Vintage crate labels, like those used by growers and distributors in the early 20th century, combined bold graphics with regional branding to promote Georgia’s prized fruit. Today, these colorful labels, along with advertising signs, packaging, and agricultural memorabilia, are highly sought after by collectors for their vibrant design and connection to the state’s farming heritage.

Beyond advertising, Georgia’s material culture is rooted in everyday life. Southern furniture, including pine pie safes and other handmade case pieces, reflects practical design shaped by climate and necessity. Quilts and textiles, often made from available fabrics and stitched by hand, offer insight into domestic life and regional traditions. Georgia Celebrates Quilts, the state’s largest continuing juried and judged quilt show, highlights a craft passed down through generations, with more than 300 works by artists from across Georgia featured during its June biennial event alongside America’s 250th anniversary.

The state’s history is also preserved through Civil War and agricultural artifacts, including military relics, cotton scales, and farm tools that speak to Georgia’s role in both conflict and cultivation.

Indigenous and coastal craft traditions remain an important part of Georgia’s cultural landscape. Along the coast, Gullah Geechee artisans continue the centuries-old practice of sweetgrass basket weaving, with makers such as Savannah-based weaver Jery Taylor carrying forward techniques passed down through generations. In North Georgia, Cherokee basketry traditions, particularly rivercane weaving, reflect a deep connection to the land and its natural materials, preserving techniques passed down despite the displacement of Native communities in the 19th century. Collectors can support these living traditions by purchasing directly from contemporary artisans, while older works should be approached with care, ensuring proper provenance and ethical sourcing.

Georgia also holds a place in American pop culture as the home of the Cabbage Patch Kids, a collectible phenomenon that adds a playful note to the state’s history. Collectors can even make a pilgrimage to BabyLand General Hospital in Cleveland, Georgia, where Cabbage Patch Kids are “born,” and the brand’s legacy continues to delight visitors.

Looking Ahead: America250 Georgia Calendar Highlights

Throughout 2026 – America250 Georgia Statewide Programming. Educational initiatives, exhibitions, and community events marking the nation’s 250th anniversary across Georgia

February–July 2026 — Voices and Votes: Democracy in America (Georgia Tour)
A Smithsonian traveling exhibition hosted at multiple Georgia venues through the Georgia Humanities, exploring the history of American democracy through artifacts, images, and interactive displays.

March 2026 — Georgia Historical Society America 250 Programming Begins
The Georgia Historical Society launches its Semiquincentennial initiatives, including exhibitions, lectures, and educational outreach tied to Georgia’s role in the nation’s founding.

May 3, 2026 — America250 Concert, Roswell Cultural Arts Center
A community-centered performance in Roswell celebrating the nation’s 250th through music and storytelling, reflecting both historical themes and modern cultural expression.

July 3, 2026 — Two Lights for Tomorrow
A nationwide commemorative moment observed in Georgia communities as part of the Semiquincentennial.

July 4, 2026 — Statewide America 250 Celebrations
Communities across Georgia will mark Independence Day with enhanced programming, including public readings of the Declaration of Independence, historical reenactments, and local Semiquincentennial festivals.

July 8, 2026 — Simultaneous Reading of the Declaration of Independence
A coordinated national observance bringing communities together through shared civic reflection.

June–September 2026 — Our American Story (National Exhibition Series)
A nationwide initiative supported by the Smithsonian Institution, featuring exhibitions and digital programming that explore the people, events, and objects that shaped the United States.

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America at 250: Alabama’s Hand-Shaped Heritage

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