When people think about advertising collectibles, they probably picture vintage neon signs or a box of pencils imprinted with some long-forgotten business from the 1940s. I think of motorcycle patches.

Long before I knew there was a name for advertising memorabilia, my family produced and sold it.

My father spent much of my childhood on the road, traveling from one motorcycle shop to the next with display boards filled with embroidered patches representing Harley-Davidson, Triumph, Honda, Yamaha, Kawasaki, and dozens of other motorcycle brands. Carried from town to town, the boards showed shop owners what was available for their customers.

Like most family businesses, everyone pitched in. All seven of us kids assembled display boards, sorted inventory, and prepared orders under the watchful eye of my mother, who held everything together while my father traveled. Looking back, I suppose child labor laws would have frowned on our operation. We were simply pitching in.

Eventually, my father saw another opportunity. If motorcycle enthusiasts proudly wore embroidered patches, why not offer decals as well? My Uncle Joseph, a talented artist, transformed ideas into line drawings that became silk-screen stencils. Before long, we had built a small screen-printing shop in Shelbyville, Tennessee.

My tenth-grade year was measured less by semesters than by ink colors. Red, blue, black, and yellow plastisol permanently stained my hands and fingernails, while the harsh solvents we used to clean screens left our skin perpetually dry. Water-based inks weren’t yet part of our vocabulary. My brother and I learned to screen print and operate the die-cut machine, while my siblings kept freshly printed decals moving through the conveyor dryer and onto drying racks. It was repetitive work, but there was satisfaction in watching stacks of finished decals grow by the hour.

Because of my daddy, those decals soon found their way into motorcycle shops across America. During the summer, each of us children took turns accompanying him for a week on his sales trips. I looked forward to my turn every year and often volunteered for more. Sitting beside my dad, I watched America roll by one small town at a time, helping navigate, searching for coffee, and stopping at motorcycle dealerships that stretched from one end of the country to the other.

Years later, after our family moved to California, my father opened a sign shop. Alongside storefront signs came promotional products: key chains, magnets, Frisbees, pens, sunglasses, lanyards, lapel pins, even Rubik’s Cubes. Each piece was imprinted with a company’s name and designed to keep that business in front of its customers.

Without realizing it, I had spent my childhood surrounded by the very things collectors now call advertising memorabilia.

Those experiences also shaped my own career. I eventually became a graphic sign designer, fabricator, installer, and project manager, following a path that began years earlier beside a silk-screen press and in the passenger seat of my father’s car.

Looking back, I realize I never really had much chance of choosing another profession. My maternal grandfather was a sign painter, and all three of his sons followed him into the sign industry. My cousins learned the trade in my Uncle Buck’s sign shop, and in 1985, three of them installed the iconic green neon that outlines Dallas’ Bank of America building. Their oldest brother spent his career with one of Dallas’ largest sign companies, while my sister, Tracie, continued the family tradition as both a graphic sign designer and an accomplished hand-letterer.

My father’s path was different, but it led to the same industry. He built businesses around motorcycle patches, decals, signs, and advertising specialties, giving our family a front-row seat to the world of commercial advertising. Between my father’s entrepreneurial spirit and my mother’s family’s trade, I was surrounded by the sign industry from both directions.

Today, when I walk through an antique mall and spot a weathered porcelain sign or a faded advertising giveaway, I don’t just see a collectible. I see the people who designed it, fabricated it, and sold it. I remember ink-stained hands, the smell of screen-printing solvents, long summer road trips with my dad, and a family that made its living helping businesses get noticed.

 Advertising memorabilia preserves more than American commerce. For me, it preserves a family legacy.

The post From the Editor: The Signs Are Everywhere appeared first on Antique Trader.

Colonel Sanders wasn’t just the face of Kentucky Fried Chicken; he was its founder. For the first time, a collection of his personal artifacts, given directly to the previous owners by the Sanders family, came to auction, selling at The Menish Group in Louisville, Kentucky, from July 28 to 31. Bids came in person and online, and reached high prices, affirming the legacy of one of fast food’s most famous figures.

Auction lots ranged from advertising materials to business documents to personal effects to kitchen equipment. The most recognizable item may be the black ribbon bow tie and matching suspenders worn by Sanders himself. Standing out against his white suit, these accessories, as The Menish Group said, were keys to “helping transform Harland Sanders from a successful restaurateur into the international figure known simply as ‘The Colonel.’” Appropriately for icons of advertising, they sold together for $9,200.

Another important lot marked the day “The Colonel” was truly born: the commission certificate that declared businessman Harland Sanders a Kentucky Colonel, awarded on December 6, 1955, and signed by Kentucky Governor Lawrence W. Wetherby. It achieved $26,450. “Kentucky Colonel” is an honorary title, the highest that can be given by the Governor of Kentucky.

Of course, plenty of the available lots depicted the iconic image of Colonel Sanders. There were several albums featuring photos of him, including one documenting a visit to Japan, one of KFC’s most important international markets. It sold for $1,380. The Colonel’s face also appears on the restaurant’s advertising, like an early display bucket with a 1954 copyright that bidders determined was worth $4,025.

The top lot in the auction was a more personal memento of both the brand and the businessman behind it. An appointment book used by Sanders, with “1964” printed on the cover, sold for an impressive $34,500. Sanders’s handwriting fills the pages with his business notes and daily routines. The auction house also notes that it includes “a handwritten page containing a list of eleven ingredients and associated measurements.” They confirm whether this was the Colonel’s secret recipe of “11 herbs and spices”, but it may be the secret to the lot’s price.

Harland Sanders was born in Indiana in 1890 and learned to cook as a child, making meals for his younger siblings while their widowed mother worked long hours. In 1930, after a long string of various jobs starting in his teen years, he opened a service station in North Corbin, Kentucky, where he started serving chicken to an admiring public. He opened his first true restaurant, also in Corbin, in the 1940s, which operates today as the Sanders Café & Museum.

Sanders sold the Kentucky Fried Chicken company in 1964, but stayed in the restaurant business. He and his wife, Claudia, established the Claudia Sanders Dinner House in the former KFC headquarters. In 1974, the Sanders family sold the Dinner House and their home, Blackwood Hall, to Tommy and Cherry Settle. The purchase included the extraordinary collection of memorabilia that sold at The Menish Group’s auction.

Images courtesy of The Menish Group.

Prices include a 15% Buyer’s Premium.

Find more restaurant memories:

Vintage Fast Food Toys are Collector Treats

Dining Memories at the International Museum of Dinnerware Design

Vintage Restaurant Ware Creamers

The post The Colonel Comes to Auction: The Personal Treasures of Harland Sanders Hit the Block appeared first on Antique Trader.

As collectors pull deep from their pockets to buy signs, let’s not forget the businesses that were commissioned to make these pieces. Many of the producers of these signs were small operations scattered throughout the United States, running on the help of members of their family and community.

Some sign companies have lasted decades, and even centuries, under family ownership. As time passes and parents retire, their children step into their roles, and the technology used to produce their signs changes. Not only are these companies based around heritage, but also evolution.

Such is the case with Chicago-based Right Way Signs, which has made some of the most recognizable signs in the city. The business is inspired by the work of sign artist Ches Perry, whose face is the business’s logo and is the father of Right Way Signs owner Alex Perry.

To know more about running a legacy signage company that has gone from hand-painted to digital, Kovels Antique Trader interviewed Alex of Right Way Signs.

Kovels Antique Trader (KAT): How did your company get its start?

Alex Perry (AP): Right Way Signs started in 2012, but the real story starts long before that. My father, Ches, has been hand-painting signs since 1970. He trained at the Institute of Lettering & Design in Chicago, honed his craft at Northwest Showcards in Chicago, and in 1980 bought Brownie Signs in Evanston—a shop that had been lettering storefronts, grocery store signs, and serving Northwestern University since 1936. Through the ’70s and ’80s, he ran a crew of painters doing work all over Chicagoland by hand.

Then the computer-generated signage era hit. By the early ’90s, vinyl and digital printing had taken over, and hand-lettering was written off as a lost art. We sold the business in 2005, and he stayed on as an employee, mostly cutting vinyl, but missing sign painting. I’d worked alongside him from 2000 to 2005 before going into a different career, but I never forgot watching him work.

In 2012, I started Right Way as a side project, really just so my dad could get back to his roots. The idea was simple: he’d paint, I’d run the operation. Three months in, it took off, and there was no turning back. The fact that it’s a father-and-son business isn’t a marketing line for us—it’s the whole identity. The name itself, “Right Way,” comes from something Dad always believed: there’s a right way to do things and a wrong way (both in sign making and the way you treat your staff, clients, vendors, and partners. That standard came from him, and it’s the thing the company is built around.

KAT: What has been passed down in your company?

AP: The most literal thing passed down is the craft itself—the lettering. My father learned brush lettering, layout, spacing, and gold leaf the old way, and those are skills you can’t shortcut or download. He’s spent more than 50 years refining them, and he teaches the painters and apprentices who come through our studio the same way he was taught: by hand, by eye, with a lot of patience. A lot of what he knows isn’t written anywhere; it lives in the doing.

The deeper inheritance, though, is a philosophy. Dad built his reputation on doing right by people and never cutting corners, even when it would’ve been easier or cheaper. That became our north star. We say it plainly: we’re not really a sign business; we’re a people business. Satisfied customers come back and refer others, and that’s the whole engine. The awards and the big-name clients are nice, but the principle underneath them is the one my father handed down—do the work the right way, treat people right, and the rest follows.

Peruse articles featuring collectible signage:

A Conversation with Robbie Wolfe

More Than Decor: Cracker Barrel’s Curated Americana

The post Relics & Roots: An Interview with Right Way Signs appeared first on Antique Trader.

When you’re a kid, there’s not much better than a meal of junk food topped off by a free toy. (For parents, the treat is getting a meal and entertainment for your kids at a low price.) Fast food restaurants realized this in the 1970s. The first fast food kids’ meal to include a toy was the Fun Meal introduced by the now-defunct chain Burger Chef in 1973. A few years later, in 1979, McDonald’s released its Happy Meal, and fast food was never the same.

Although the toys in fast food meals are usually simple and cheaply made, they aren’t just temporary fun. They are usually released in sets or themes, making them many kids’ first collections. It doesn’t hurt that you’ll never know which toy you’ll get, in the same way that blind box toys captivate today’s buyers, or that many fast food toys overlapped with existing collectible crazes, like McDonald’s Teenie Beanie Babies or Burger King’s Pokémon cards. Other popular toys promoted movies or sports events.

Fast food restaurants are aware that it’s not just kids who collect their toys. In recent years, McDonald’s has released limited-edition Happy Meals geared toward adults with redesigned versions of past favorite toys. Collectors also like to look for vintage toys they remember from their childhoods. You can find them at places like flea markets, thrift stores, online marketplaces, and sites like eBay and Etsy. They occasionally come up at auctions, too; usually with several offered together as a single lot.

If you find a few vintage fast food toys in your attic or at the back of a drawer, they probably won’t fund your retirement, but you could make a small profit off something you got for free. But if you find one at a flea market or online, it won’t cost too much to indulge your inner child.

More Childhood Classics:

Vintage Fisher-Price Toys

From Cowboys to the Cosmos

My Little Pony Still Makes Collectors’ Hearts Gallop

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What do a beer stein, a porcelain sign, a fast-food toy, and a neon cowboy have in common? They were all created to capture attention. Today, they’re capturing collectors.

The August issue of Kovels Antique Trader explores the colorful world of advertising memorabilia, where everyday promotional items have become lasting pieces of history. From roadside icons that once illuminated America’s highways to giveaways that found their way into kitchens, garages, and children’s hands, these collectibles tell the story of American commerce through the objects it left behind.

Our feature on Françoise Montague shines a spotlight on the celebrated French jewelry designer whose elegant costume jewelry continues to enchant collectors with Parisian craftsmanship and timeless style. Whether you’re already familiar with the name or discovering it for the first time, you’ll find plenty to admire in these beautifully crafted pieces.

Promotion takes many forms, and few examples are more unforgettable than the glowing signs that once defined America’s streets and skylines. This month, we head to the Neon Museum in Las Vegas, where some of the city’s most iconic signs have been preserved as works of art and pieces of cultural history. We also sit down with the craftsmen of Right Way Signs, whose passion for traditional signmaking keeps the artistry of handcrafted commercial signage alive for a new generation.

Beer lovers and advertising collectors alike won’t want to miss our deep dive into breweriana, one of the hobby’s broadest and most rewarding collecting categories. From steins and trays to signs, bottles, openers, and promotional pieces, breweriana offers collectors countless opportunities to build a collection that reflects both local history and national brands.

Nostalgia takes another turn with a look back at vintage fast-food toys, reminding us that some of our earliest collections came tucked inside a paper sack alongside fries and a hamburger. These colorful premiums remain affordable collectibles that continue to delight generations of collectors.

The issue also travels beyond promotional collectibles with Memoria y Cultura, highlighting Latin American museums across the United States and the collections preserving generations of art, culture, and heritage. You’ll also find the latest Sales Reports, our Events Calendar, Collector’s Gallery, and this month’s Looking Beyond the Block, featuring the fascinating world of salesman samples, miniature masterpieces designed to help close the sale.

In this month’s Editor’s Note, “The Signs Are Everywhere,” Editor Kele Johnson reflects on a lifelong connection to advertising memorabilia. Long before becoming a collector, she was helping create the very items businesses used to promote their brands. From motorcycle patches and silk-screened decals to promotional products and signs, her family’s livelihood revolved around producing the pieces collectors now treasure. It’s a reminder that behind every advertising collectible is more than a brand or a logo. Each carries the stories of the people who designed and produced it, as well as those who eventually used it.

Whether your collecting interests include neon signs, breweriana, fine jewelry, or nostalgic advertising memorabilia, the August issue is filled with stories celebrating the creativity, craftsmanship, and history behind the objects businesses once used to capture attention. Many were made to sell. Today, they’re collected because they tell their own part of America’s story.

The post A Look Inside the August 2026 Issue of Kovels Antique Trader appeared first on Antique Trader.

Over 350 rare items of art, kitsch, and music history from Allee Willis–the legendary songwriter behind “September,” “Boogie Wonderland,” and “I’ll Be There For You,” Grammy Award winner for Beverly Hills Cop, renowned visual artist, music video art director & mid-century kitsch icon–offered for the first time in an exclusive auction.

Among the featured items are the handwritten “Boogie Wonderland” lyrics, custom-made guitars from Heart’s “There’s The Girl” and The Breakfast Club’s “Right on Track” music videos, Debbie Harry’s 1986 music video “French Kissin’ in the USA” giant mechanical sculpture, design pieces by George Mulhauser and Vladimir Kagan, paintings by Allee Willis’ alter-ego, “Bubbles the Artist,” 1980s/MTV era “New Wave” furniture, set décor, and art, “Celebrity Junk Drawer” mosaic portrait of Allee Willis by Jason Mecier, 1960s to 1980s kitsch art, toys, pop culture memorabilia, & advertisements, and the Pee-wee Herman archive and beyond from Allee Willis’ Spectacular “Willis Wonderland” home in North Hollywood.

All Proceeds from the auction benefit the Allee Willis Foundation.

Los Angeles, CA – (July 29, 2026) – Julien’s Auctions announced today “Atomic Kitsch: The Allee Willis Collection,” the industry leading entertainment auction house’s exclusive auction event celebrating the extraordinary life and career of the renowned visual artist, art director, sculptor, art collector and Grammy-Award winning, Tony- and Emmy-nominated songwriter who brought the world some of the biggest hit songs of all time including Earth, Wind & Fire’s “September” and “Boogie Wonderland,” and the Friends theme song “I’ll Be There For You,” taking place Tuesday, August 18th, 2026 10 am PT online at juliensauctions.com.

A Detroit-born-and-bred artist, Allee Willis’ love for Black music and culture developed early as a teenager when she would hang out on the Motown Records’ lawn to listen to the music coming through the walls. She started her career in New York as a copywriter for Columbia Records and Epic, and in 1974, her solo album Childstar debuted and attracted the attention of Bonnie Raitt–the first artist to record one of Willis’ songs. She became a songwriter at A&M Records, working with the likes of Patti LaBelle and Herbie Hancock, and wrote the lyrics with Maurice White of Earth, Wind & Fire for her first breakthrough hit, “September.” The Grammy winner for Beverly Hills Cop and Grammy-nominated (The Color Purple: A New Musical), Tony- and Emmy-nominated lyricist was also a 1980s art world star renowned for her multimedia sculptures and paintings by her alter ego, Bubbles the Artist.

A prolific art director for music videos for artists such as Debbie Harry, The Cars, and the band The Breakfast Club, Willis also developed early social media concepts alongside Mark Cuban in the pre-America Online era.

The compositions by the Songwriters Hall of Fame and Women’s Songwriters’ Hall of Fame inductee have sold over 60 million records and include “What Have I Done to Deserve This?” by the Pet Shop Boys and Dusty Springfield, “Neutron Dance” by The Pointer Sisters, as well as collaborations with Bob Dylan, James Brown, Debby Boone, Sister Sledge, Gladys Knight & the Pips, Jennifer Holliday, Cyndi Lauper, Taylor Dayne and more. In 2015, Willis appeared as a kitsch expert on episodes of the reality television show Storage Wars, and in 2024, her biographical documentary by Alexis Manya Spraic, The World According to Allee Willis, was released, showcasing her extensive collection of kitsch collectibles, décor, mid-century furniture, and her artistic creations, many of which will be featured in this auction.

For the first time, Allee Willis’ renowned collection has come to market with over 350 pieces from her celebrated “Willis Wonderland” home in North Hollywood, the pink architectural Streamline Moderne masterpiece, designed by William Kesling, that was as famous for its celebration of all things kitsch as it was for hosting Willis’ most fabulous and legendary parties.

Historic items representing her multifaceted career as a legendary songwriter, artist, art director, performer, and party host include (with estimates):

• Her 1978 handwritten lyrics for “Boogie Wonderland” ($800-$1,200).
• A giant mechanical “kissing machine” sculpture featured in Debbie Harry’s 1986 music video “French Kissin’ in the USA” ($1,000-$2,000).
• Prop guitars customized by Allee Willis that she created for iconic music videos, which she set designed in her signature style of explosive color, intricate patterns, and unique objects, including Heart’s signed 1987 embellished “There’s The Girl” guitar. and The Breakfast Club’s signed 1987 embellished bass guitar from “Right on Track” (each lot $500-$700).
• “New Wave” furniture, set décor, and art from projects including MTV’s Just Say Julie.
• Willis’ cheetah-pattern suit worn when winning the Grammy for co-writing The Pointer Sisters’ “Neutron Dance” and Patti LaBelle’s “Stir It Up” in 1986. 
• Gold records including for her achievements with Earth, Wind & Fire, Pointer Sisters, Beverly Hills Cop, Pet Shop Boys, and Richard Simmons, her BMI TV Music Award for writing the theme to Friends “I’ll Be There for You,” and Willis’ 2018 Songwriters Hall of Fame Award.

In addition to her own career accomplishments and accolades, Willis saved archival treasures from the careers and lives of many of her famous friends and collaborators, including Cassandra Peterson (Elvira, Mistress of the Dark), Cher, Bette Midler, Richard Simmons, Mark Mothersbaugh, Cyndi Lauper, Lily Tomlin, Jane Wagner, and Angelyne. The sale also includes Allee Willis’ personal collection of significant memorabilia and pieces related to Paul Reubens, best known for his iconic character Pee-wee Herman, including a rare diamond-eyed Pee-wee doll embellished, signed, and inscribed by Paul Reubens for his closest friends ($1,000-$2,000), along with extensive correspondence and gifts from Paul Reubens; Pee-wee Herman’s tiki mugs ($300-$500), a rare Pee-wee’s Big Adventure picture-disc record with cover designed by Willis, paintings of Pee-wee by Willis, aka Bubbles the Artist, a toilet seat Reubens inscribed to Willis, and more.

The sale features many of the treasures that decorated Allee Willis’ home, highlighting her singular “snob in reverse” aesthetic, such as high-end furniture, kitsch, and rare one-of-a-kind novelty items from iconic chairs by George Mulhauser ($800-$1,200), and Vladimir Kagan ($400-$600) to an array of rare Afro combs and African-American church fans used by James Brown and other celebrities ($200-$300). Also included is a light-up bar sign picturing Billy Dee Williams advertising Colt 45 Malt Liquor ($300-$500) as well as Willis’s vast collection of 1960s to 1980s kitsch, including art, toys, pop culture memorabilia, and advertisements.

Willis’ own artistry, which both decorated and occupied the space, will be showcased in the auction featuring furniture designed by Allee Willis using mid-century car parts such as door handles, window cranks, hood ornaments, and branding, and found materials including mid-1980s dressers with car emblem handles (each $1,500-$2,500), paintings by her alter ego, Bubbles the Artist, as well as the famous “Celebrity Junk Drawer” mosaic portrait of Allee Willis by Jason Mecier ($2,000-$4,000) made from assorted objects from Willis’ junk drawers.

“From the 1970s through the 2010s, Allee Willis was at the center of pop culture,” said Catherine Williamson, Managing Director of Entertainment, Julien’s Auctions. “She was a multi-talented creative force and purveyor of culture and taste who, in addition to co-writing some of the world’s biggest songs of all time, was a groundbreaking visual artist who influenced technology and helped make collecting kitsch and mid-century pieces some of the most significant style trends and movements today. Julien’s is thrilled to present this unique opportunity to own a piece of Allee Willis’ ‘Wonderland’ and celebrate her joyful legacy of creating and collecting American pop culture.”

Proceeds from the auction will benefit The Allee Willis Foundation, which carries forward the legacy of the Grammy-winning and Tony-nominated songwriter, artist, and multimedia pioneer behind “September,” “Boogie Wonderland,” The Color Purple on Broadway, and the Friends TV show theme. The objects offered here reflect Allee Willis’ life and work: art she made, furniture she designed, and treasures she chose to keep close, all touched by the same fearless creativity she brought to everything she did. The Foundation exists to carry that spirit forward, funding the places, programs, and people that let creativity flourish the way hers did.

That work takes shape most visibly through Musical Wonders, the Foundation’s flagship program, putting real music-making in the hands of students, supporting over 300 schools across 35 U.S. states and reaching more than 116,000 students. The Foundation is also endowing The Allee Willis Creativity Commons at the University of Wisconsin–Madison, a multidisciplinary makerspace and archive opening in 2028.

Her story is told in The World According to Allee Willis, streaming now on Hulu. Separately, every item purchased that appears in the pop-up book of Allee’s home, Willis Wonderland: The Legendary House of Atomic Kitsch, will include a copy of the book itself.

To learn more about The Allee Willis Foundation, or to support its work, visit AlleeWillis.org.

Online Auction: Tuesday, August 18, 2026, 10:00 AM, Pacific Time.

Placing Bids

• Bid with Julien’s Auctions online.
• Bid over the telephone through an auction house representative.
• Bid in advance by absentee bid. Absentee bid forms are available by calling 310-836-1818.

Julien’s Auctions accepts cryptocurrency payments, including Bitcoin, Bitcoin Cash, DAI, Ethereum, Litecoin, Dogecoin, and USD Coin.

About Julien’s Auctions:

For the moments that matter.

You know that moment when the lights dim, right before your favorite band starts playing? Or that feeling right before the credits roll on a movie that changed your whole world in an instant? The air is charged with anticipation, and words are never going to do it justice because you just really had to be there.

At Julien’s, we exist to bring those moments back into your life through iconic artifacts and one-of-a-kind collections. Whether collaborating directly with artists, partnering with legendary estates, or working closely with discerning collectors, our auctions make culture pop with the promise of discovery and reconnection. From Elvis Presley, Marilyn Monroe, and Ringo Starr to Lady Gaga, Banksy, and Kurt Cobain—from LA to the world, we are where originals find their kind.

The post Julien’s Auctions Announces Atomic Kitsch: The Allee Willis Collection appeared first on Antique Trader.

Front and back views of Wilt Chamberlain’s 1972 NBA Finals game-worn warm-up jacket, matched to 3 games in the 1972-73 Regular Season, bought for $3 at a Goodwill Outlet, sold for $89,600 at Sotheby’s.

Earlier this month, 19-year-old Quinn Brown made the lucky discovery of a vintage Los Angeles Lakers warm-up jacket at a Goodwill Outlet in Portland, Oregon. His $3 purchase was quickly confirmed to be the jacket worn by Wilt Chamberlain in the 1972-73 NBA season, his last before retiring. The jacket realized $89,600 after 48 bids in the Summer Sports Marquee auction at Sotheby’s New York that ended July 20.

Brown, who has an enterprising spirit as well as an excellent eye, started a resale business in 2023. Sotheby’s reached out to him after finding photos of the Lakers jacket he posted on social media. Although the jacket’s $89,600 sale price doesn’t measure up to its $150,000 presale estimate, it’s an astounding price compared to the mere $3 that Brown bought it for, and to his previous best sale of $250.

The jacket’s discovery and sale make an eye-catching example of two major trends in the vintage and collectibles world: The exploding popularity of vintage clothing among young adults, and the significance of provenance, especially when linked to a well-known name or important cultural event.

Related: $3 Goodwill Find Could Bring $250,000 at Sotheby’s

Despite the jacket falling short of its estimate, two other pieces of Wilt Chamberlain memorabilia made the auction’s top lots, according to data analytics company Pricing Culture. These were the scoresheet from Chamberlain’s “100 Point Game” when he played for the Philadelphia Warriors in the 1961-1962 season and the jersey he wore for the Philadelphia 76ers in the 1967-1968 Eastern Division Semifinals game.

Other sports were well represented in the auction, with Aaron Judge’s “Rookie Debut” New York Yankees jersey from 2016 taking the top spot at $1.8 million.

Continue the hunt with more stories from the world of sports collectibles.

$100K Baseball Cards are Late Brother’s Legacy

Mike Ditka’s Super Bowl XX Sweater Vest Is Up for Auction at Goldin

Sotheby’s “The Great One” Auction Celebrates Wayne Gretzky’s Legacy

The post Goodwill Discovery Sells for $89,600 at Sotheby’s appeared first on Antique Trader.

Long before European explorers arrived, the Mississippi River and its fertile valley sustained thriving Native civilizations and connected vast trade networks, shaping the culture that spread across much of eastern North America. Today, that remarkable legacy lives on in the state’s archaeological sites, historic landmarks, and vibrant cultural traditions.

A Brief History of the Magnolia State

People have called Mississippi home for the last 12,000 years. Paleoindian hunters were among the earliest inhabitants, followed by Archaic and Woodland peoples who developed increasingly complex societies across the region. Around A.D. 800, the Mississippi mound culture emerged in the central Mississippi River Valley and spread across much of the Southeast and Midwest, including present-day Mississippi, Alabama, Georgia, Arkansas, Missouri, Kentucky, Illinois, Indiana, and Ohio. These thriving agricultural societies built ceremonial mound complexes, established extensive trade networks, and left a heritage that can still be explored at archaeological sites throughout the region, such as the Winterville Mounds in Greenville, Mississippi.

When Europeans arrived in the 16th century, the region was home to the Choctaw, Chickasaw, Natchez, and other Native nations, each with distinct cultures, languages, and traditions. Spanish explorer Hernando de Soto traveled through the area in the early 1540s, but permanent European settlement did not begin until the French established Fort Maurepas near present-day Ocean Springs in 1699.

Control of the region shifted between France, Great Britain, and Spain before the United States organized the Mississippi Territory in 1798. On Dec. 10, 1817, Mississippi became the 20th state admitted to the Union.

The state’s fertile soil made cotton the dominant crop during the 19th century, fueling economic growth while also entrenching the institution of slavery. Mississippi seceded from the Union in 1861 and soon became one of the Civil War’s principal theaters during one of the darkest and most devastating chapters in American history. Some of the conflict’s fiercest campaigns were fought on Mississippi soil, culminating in the Siege and Battle of Vicksburg, a decisive Union victory in 1863 that secured control of the Mississippi River and effectively split the Confederacy in two. Reconstruction brought profound political and social change, followed by decades of segregation under Jim Crow laws.

During the 20th century, Mississippi became one of the focal points of the Civil Rights Movement. Events such as the 1964 Freedom Summer campaign and the work of countless local activists helped shape the nation’s ongoing pursuit of equality and justice.

Today, Mississippi honors its complex history while celebrating the people and traditions that continue to shape the Magnolia State.

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

Mississippi is marking America’s Semiquincentennial through America 250 MS, a statewide initiative that encourages communities to explore and share the state’s rich history. Mississippi communities, museums, and historic sites feature events that highlight the state’s role in the nation’s story. Visitors can explore places connected to the state’s Native heritage, early European settlement, the Civil War, and the Civil Rights Movement while participating in commemorative programs throughout 2026 and beyond.

The Mississippi Department of Archives and History oversees many of the state’s most significant historic sites, including the Old Capitol Museum, Windsor Ruins, and the Vicksburg Civil War Visitor Center, offering opportunities to experience Mississippi history firsthand. Across the state, local museums and historical societies continue to showcase the people and events that shaped Mississippi and the nation.

Collecting Mississippi

Mississippi’s history offers collectors a wide range of opportunities, from Native American artistry and river transportation to blues music, literature, and regional pottery.

Contemporary art created by the Choctaw, Chickasaw, and other Native peoples includes baskets, pottery, beadwork, and more. Choctaw artisans produce swamp cane baskets and beadwork using the same methods that their ancestors used. Collectors are encouraged to purchase these items from contemporary artisans. For those drawn to historic examples, research is essential before making a purchase. As with all Native American cultural objects, collectors should carefully research provenance and applicable laws before making a purchase.

The history of the Mississippi River inspires the collection of steamboat memorabilia, navigation maps, postcards, photographs, travel brochures, and river-related advertising. Historical ephemera from the steamboat era documents the importance of America’s greatest waterway to commerce and daily life.

Since 1932, the annual Natchez Pilgrimage has welcomed visitors inside many of the city’s historic homes, becoming one of Mississippi’s best-known heritage tourism traditions. The event has generated a wide range of collectible souvenirs, including illustrated tour booklets, admission tickets, souvenir programs, postcards, maps, commemorative plates, ribbons, and promotional brochures.

Early Pilgrimage ephemera, particularly pieces from the 1930s through the 1950s, are especially sought after for their artwork and their connection to one of the nation’s longest-running historic home tours. The Pilgrimage has evolved over the decades to present a broader, more inclusive interpretation of Natchez’s history, reflecting the many cultures and communities that shaped the city.

Mississippi’s literary heritage also offers rewarding collecting opportunities. First editions, signed books, manuscripts, and related ephemera associated with William Faulkner, Eudora Welty, Richard Wright, and Tennessee Williams continue to attract collectors worldwide. Mississippi’s literary heritage also extends beyond the printed page. McCarty Pottery, one of the state’s most beloved ceramic traditions, traces its origins to clay gathered from William Faulkner’s Rowan Oak property after the Nobel Prize-winning author gave Lee and Pup McCarty permission to excavate it.

While McCarty Pottery remains a Mississippi favorite, the state’s ceramic legacy begins with George Ohr (1857–1918), the “Mad Potter of Biloxi.” Renowned for his extraordinarily thin-walled, free-form vessels and experimental glazes, Ohr’s innovative work was decades ahead of its time and today ranks among the most sought-after examples of American art pottery.

While Mississippi’s collectibles preserve the state’s past and present, its America 250 celebration invites residents and visitors alike to experience that history firsthand through commemorative events, educational programs, and community celebrations taking place across the Magnolia State.

Looking Ahead: Mississippi’s America 250 Calendar Highlights

Throughout 2026—America 250 Mississippi Statewide Programming

January 6, 2026 – December 31, 2026—Keepers of the Coast: Preserving Black History at the Pleasant Reed House.

June 19, 2026 – March 27, 2027—John Jennings: Build Your World Exhibition

The MAX opens a new exhibition exploring the extraordinary storytelling and world-building of John Jennings — Mississippi native, NYTimes bestselling graphic novelist, Harvard Fellow, and Hugo- and Eisner Award-winning artist.

March 7, 2026 – November 6, 2026—Mississippi Made

A special exhibit of the Two Mississippi Museums presented in celebration of America 250. Featured here are artifacts that reflect Mississippi’s contributions to the American story. 

September 22, 2026—The America Waves Indoor Parade to Salute Wayne County Veterans and Military Personnel

Multiple civic club and non-profit organizations will salute veterans and military personnel during an indoor parade with giveaways, plus military backdrops will be available for families to take photos to commemorate America 250.

October 10, 2026—The Town Creek Festival and Archaeological Expo

This unique event will feature displays of archaeological artifacts, including rock, fossil, arrowhead, and Civil War relic collections. Visitors can meet collectors, watch flint knapping demonstrations, and even bring their own artifacts to be identified by experts. A highlight of the day will be a Civil War Reenactment at 2:00 p.m., accompanied by a lively festival atmosphere with food vendors, live music, art, dancers, genealogy research, fireworks, and more.

Explore More America at 250 stories:

America at 250: Michigan – The Great Lakes State

America at 250: Massachusetts: The Bay State

America at 250: Maryland’s Chesapeake Heritage

America at 250: Maine’s Enduring Traditions

America at 250: The Legacy of Louisiana

America at 250: Kentucky’s Bourbon, Bluegrass, and the Kentucky Derby

America at 250: Kansas, the Sunflower State

America at 250: Iowa, the History and Heritage of the Hawkeye State

America at 250: Indiana, the Crossroads of America

America at 250: Illinois, the Prairie State

America at 250: Idaho’s Hidden (and Not-So-Hidden) Gems

America at 250: Hawaii’s Aloha Spirit

America at 250: Guam’s Cultural Legacy in the Pacific

America at 250: Georgia’s Craft, Commerce, and Cultural Influence

America at 250: Florida’s Diverse Heritage

America at 250: Delaware’s First State Heritage

America at 250: Connecticut’s Colonial Craft and Industry

America at 250: Colorado’s Land and Living Traditions

America at 250: California’s Golden State Traditions

America at 250: Arkansas’s Ozark Traditions

America at 250: Arizona’s Traditions Shaped by the Southwest

America at 250: American Samoa’s Enduring Island Traditions

America at 250: Alaska’s Living Indigenous Heritage

America at 250: Alabama’s Hand-Shaped Heritage

The post America at 250: Mississippi: The Magnolia State appeared first on Antique Trader.

The Americana, Ephemera & Historical Memorabilia Auction at Potter & Potter Auctions revisited significant moments in American history. Civil War items, militaria, railroadiana, African Americana, antique photography, advertising material, documents, posters, and autographs filled the early spring auction.

A complete set of Norman Rockwell’s The Four Freedoms posters sold for $250. The four posters titled “Freedom of Speech,” “Freedom of Worship,” “Freedom from Want,” and “Freedom from Fear” originally appeared in The Saturday Evening Post in 1943. They were so popular that the War Department used the series for fundraising during a touring exhibit sponsored by The Saturday Evening Post and the U.S. Department of the Treasury. The name of the series came from President Franklin Roosevelt’s 1941 State of the Union address, in which he proclaimed that each person had a right to those freedoms.

Rockwell is among the most famous and celebrated American painters whose work first gained attention in the 1910s. He had long associations with Boy’s Life (the Boy Scouts of America magazine) and The Saturday Evening Post, for which he produced 323 covers over a 47-year period. Employing a narrative realism style, Rockwell’s paintings captured an idealized view of American life through wholesome humor, optimism, and sentimental connections.

An Americana auction wouldn’t be complete without an appearance by Uncle Sam. Potter & Potter offered a painted cast-iron Uncle Sam doorstop wearing his classic patriotic outfit: a blue jacket and hat covered in white stars, red-and-white-striped pants, a white shirt, and a red tie. He stands in a jaunty pose with his hands on his hips and knees slightly bent as if he’s preparing to sing “Yankee Doodle.” The doorstop was estimated at $50 to $150, but ended up at $550.

Uncle Sam has long been a character who personifies the American government and symbolizes its people. First appearing during the War of 1812, the prevailing (though disputed) origin story is that he was based on businessman Samuel “Uncle Sam” Wilson, who supplied beef to the army. The barrels they arrived in were stamped “U.S.,” and Uncle Sam became synonymous with the government.

NASA landed in the auction with a flag and patch presentation frame from the Space Shuttle Discovery, the first satellite recovery mission. The flag and patch were onboard during the shuttle mission on November 8-16, 1984, and are displayed with a photo of the shuttle, one of the recovered satellites, and one of the five-person crew. It rocketed past the $200 to $300 estimate, selling for $425.

The Civil Rights movement was well represented, including a March on Washington for Jobs & Freedom pinback button that sold for $225. The button depicts a handshake between a black and a white hand, with the date August 28, 1963. The pin was worn at the event where Martin Luther King Jr. gave his eloquent and impassioned “I Have a Dream” speech. The prominent figure in the Civil Rights movement spoke to 250,000 supporters, calling for civil and economic equality and the end of legalized racism, and delivering a message of hope for the future.

The rare “A Bit of American History—The Flag of Our Own Time” complete set of six color lithograph calendar sheets from 1903 was a page-turner for bidders. Each sheet (featuring two months per sheet) has an illustration of a woman holding a different contemporary or historical American flag on the front and a description of the flag and advertising material on the back. Issued by the Equitable Life Assurance Company, the calendar sheets sold for $250, at the high end of the lot’s estimate.

A collection of 10 Philadelphia 1876 Centennial Exhibition souvenirs sold for $375. The group included a Bronze Centennial Commemorative Medal, Visitors Guide to the Centennial Exhibition and Philadelphia books, a Centennial Autograph Album, and a silk handkerchief, among others. A Martin Luther King Jr. “No man is free until all men are free” portrait poster from the series issued by Equitable Life Assurance Society in 1970–1971 rose to $100.

For additional results, visit potterauctions.com.

Images courtesy of LiveAuctioneers/Potter & Potter Auctions.

More Americana can be found below.

Potter & Potter Auctions’ Late Spring Art and Design Sale to Include Outsider Art, Folk Art, Fine Art, Furniture, and Other Category-Spanning Design Genres

Historic American Propaganda Posters Propel USA 250th Anniversary Showcase Auction to Nearly $200,000

More Than Decor: Cracker Barrel’s Curated Americana

The post Potter & Potter’s Americana Auction Delivers Patriotic Treasures appeared first on Antique Trader.

For many of us who spent time in the grandstands during NASCAR’s late-1990s and early-2000s boom, the memories never really fade. For me, it was the roar of engines at Texas Motor Speedway rolling through the stands like a Texas afternoon thunderstorm, the smell of burnt rubber and fuel, and the endless line of brightly painted race cars ripping through left turns for hours, creating a sensory overload unlike anything else in sports.

In those days, whether in person at the track or hanging out with friends in front of the television every race day, NASCAR was more than a sporting event for its fans. It was our April through November Sunday ritual—in the morning, we went to church and hoped the sermon didn’t run long. In the afternoon (unless we were lucky enough to score tickets), we gathered around the television with bowls of salsa and guacamole, plates of BBQ, and a cooler full of ice-cold beer to cheer on our favorite driver(s) for the next three hours.

Black Sunday

For NASCAR fans worldwide, one moment forever changed that relationship: February 18, 2001.

Like countless fans, I vividly remember watching Dale Earnhardt Sr.’s #3 car hit the wall on the final lap of the Daytona 500. We all sat frozen, collectively holding our breath, waiting for him to climb from the car, because that’s what he did—he always got out.

Except this time, he didn’t.

When Ken Schrader ran to the wreck and began frantically motioning for help, the mood in the room changed instantly. We knew it was serious. Two hours later came the news NASCAR fans never wanted to hear: The Man in Black was gone.

Even now, I can still remember how I felt in that moment.

For fans, that loss transformed memorabilia into something even more profound. Dale Sr.’s collectibles became not only fan merchandise, but emotional touchstones tied to one of the most pivotal moments in NASCAR history.

Dale Earnhardt and Dale Jr. – NASCAR’s Collecting Royalty

No discussion of NASCAR collectibles would be complete without Senior and Junior.

Dale Earnhardt Sr.’s presence in the hobby remains almost unmatched. His black #3 Goodwrench Chevrolet became one of the most recognizable images not only in racing but also in American sports culture. Long before memorabilia became a carefully managed category of limited editions and autograph signings, fans were already snapping up diecasts, jackets, posters, and sponsor merchandise bearing Earnhardt’s likeness.

His death in 2001 transformed many of those items into something more than souvenirs. Vintage #3 apparel, signed memorabilia, race-used pieces, and Daytona 500-related collectibles took on an emotional significance that continues to shape collector demand decades later. Even people who have never followed NASCAR closely often recognize the iconic black #3 car instantly.

Dale Earnhardt Jr. inherited more than a famous last name. He inherited one of the most passionate fan bases in motorsports and built an identity that was entirely his own. His red Budweiser #8 Chevrolet became one of the defining images of early-2000s NASCAR.

Junior represented continuity at a moment when the sport was grieving and changing. For so many of us, moving our allegiance to him was the natural progression as we processed the loss of Dale Sr. Driving the iconic red #8 Budweiser Chevrolet for his father’s team, Dale Earnhardt, Inc., he became one of NASCAR’s most recognizable stars. Today, memorabilia from those early years remains among the most sought-after in the hobby.

Beyond the Earnhardts: More Drivers Who Defined NASCAR’s Merchandise Boom

Although Dale Earnhardt Sr. and Dale Earnhardt Jr. dominated much of my personal NASCAR universe, they were far from the only names fueling the sport’s collectible explosion.

During NASCAR’s boom years, driver loyalty was easy to spot as fans snatched up diecasts, hats, hero cards, and enough sponsor merchandise to outfit entire households. Souvenir trailers were the biggest pre-game destinations, packed with fans eager to add another accessory to better flaunt their driver’s colors.

But for some of us, one of those drivers became our favorite to root against.

Few drivers embodied that era’s explosive dynamic of positive (and negative) popularity more than Jeff Gordon.

Jeff Gordon – Hero, Villain, or Both?

Few drivers personified NASCAR’s dramatic rise in popularity in the late 90s more than Jeff Gordon. Driving the instantly recognizable #24 DuPont Chevrolet, Gordon became one of the sport’s defining stars and one of its most commercially successful personalities. His success and polished image made him a natural counterpoint to Dale Earnhardt Sr.’s rougher “Intimidator” image, leading Earnhardt to nickname Gordon “Wonder Boy.”

Fans tended to split into camps. Some proudly wore the rainbow-colored #24 merchandise, while others booed enthusiastically and rooted against him every Sunday.

I admittedly fell into the second category.

That rivalry was part of the appeal. Gordon’s popularity helped transform NASCAR from a regional motorsport into mainstream entertainment, and his merchandise became nearly impossible to avoid. Even fans who never cheered him on still knew exactly which car was his the moment it came into view.

Gordon debuted a new car design in 2001, the DuPont Flames Chevrolet Monte Carlo, and it sparked passionate debates among his fans. With 52 wins and three NASCAR championships under his belt at the time, fans associated the DuPont rainbow color scheme with Gordon’s early dominance.

A Reddit thread comparing Jeff Gordon’s flame and rainbow paint schemes sparked a wave of memories, with commenters reflecting on first races and long-standing NASCAR traditions. Several users noted that fans often favor the design tied to their earliest memories of Gordon. For many who came of age during NASCAR’s rapid growth in the 1990s, the rainbow #24 remains especially iconic.

Tony Stewart – Controlled Chaos

For the fiercely loyal fans of Tony Stewart, he represented something different. Where Gordon felt polished, Stewart often felt emotional and unpredictable. He raced aggressively and spoke candidly. Stewart’s appeal stretched beyond victories. Fans connected with his willingness to speak his mind and race with visible intensity. His popularity translated naturally into merchandise, particularly during the Home Depot years. Tony Stewart brought home three NASCAR Cup Series championships during his racing career.

Jimmie Johnson – The Quiet One

If Gordon generated emotion and Stewart generated energy, Johnson generated championships. Seven Cup Series titles made Johnson impossible to ignore, and his blue-and-yellow #48 Lowe’s Chevrolet became one of NASCAR’s defining images of the 2000s. Less polarizing and more methodical, he quietly built one of the greatest careers NASCAR has ever seen, bringing home seven NASCAR Cup Series wins.

Kurt Busch – The Wild Card

Kurt Busch represented another side of NASCAR’s boom years. The 2004 NASCAR Cup Series champion built a devoted following through his aggressive driving style and staying power. He helped define NASCAR’s transition into the 2000s, earning a Cup Series championship in 2004 and building a loyal following of his own, driving the #97 car for Roush Racing. At the time of this writing, NASCAR fans are mourning the loss of his younger brother, Kyle Busch, whose later success introduced a new generation to the intensity and personality that helped make the Busch name a fixture in the sport. Together, the brothers left a lasting mark on NASCAR and its collectors.

Why Fans Continue to Collect NASCAR

For NASCAR fans, collecting often starts the same way fandom does—with a favorite driver. Some collectors chase shelves full of diecast cars. Others hunt vintage jackets, race programs, hero cards, autographs, or sponsor merchandise tied to a particular era of racing.

Collectors continue to gravitate toward NASCAR’s biggest names from the sport’s merchandise boom years. Dale Earnhardt Sr. and Dale Earnhardt Jr. remain among the strongest performers, joined by perennial fan favorites Gordon, Stewart, Johnson, Rusty Wallace, Mark Martin, and Carl Edwards. Vintage apparel and premium diecasts tied to these drivers remain especially popular, particularly pieces connected to their most iconic sponsors and recognizable paint schemes.

At the same time, some collections reflect a more personal side. Not every fan followed the crowd. Some rooted for drivers a little farther down the popularity ladder and built collections accordingly.

For collectors looking to get started, NASCAR offers an approachable entry point with options at nearly every price level. Focus on drivers or eras that mean something to you, and look for pieces tied to memorable sponsors, recognizable paint schemes, milestone moments, or limited releases. As with many collectibles, condition, provenance, and complete sets can make a difference over time.

The late 1990s through the mid-2000s are generally considered NASCAR’s commercial and cultural peak, for both fans and collectibles. This was the era of sold-out speedways and giant souvenir trailers, when fans identified so strongly with their driver that loyalty sometimes took on an almost near-religious fervor (I have personally witnessed beer-fueled NASCAR diplomacy). I remember walking through Texas Motor Speedway, seeing oceans of #3, #24, #20, #8, and other drivers’ gear everywhere. Fans were out representing in t-shirts, gimmie caps, jackets, and whatever other driver paraphernalia they could find. NASCAR fans should check out the NASCAR shop if they’re looking to gear up with their favorite drivers for Race Day. Throwback and current diecast cars, apparel, and more are available at store.nascar.com.

No matter the driver or the collectible, collecting NASCAR memorabilia continues to give fans a way to hold onto the experiences that made race day feel larger than life. And that is why, tucked away in the bottom of my cedar chest, you will find several diecast versions of both the #3 and #8 cars, the Revell Collection Earnhardt Family cars (with collectible tin!), the fabulous 1993 Matchbox shiny gold White Rose Super Star Award #3, a 2002 #8 Monte Carlo in a Bud bottle, and my precious #8 Dale Jr. suede racing jacket.

While NASCAR still commands passionate fans, the late 1990s and early 2000s were a uniquely collectible moment in the sport, when driver loyalty extended beyond race day into everyday life.

I kind of miss those days.

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