Tiny in scale but immense in artistry, netsuke occupy a unique place in the world of Japanese art. Originally carved as practical toggles worn with traditional dress, these miniature sculptures have become prized collectibles celebrated for their craftsmanship, storytelling, and tactile beauty.

Bonhams will offer an important group of these works during Asia Week New York, in Netsuke from the Collection of Joseph and Elena Kurstin, Part II. In an email interview with Kovels Antique Trader editor, Kele Johnson, Bonhams specialists Dessa Goddard, Senior VP and US Head of Asian Art at Bonhams and Jeff Olson, Director of Japanese & Korean Art, US at Bonhams, discuss the strength of the Asian art market, what continues to draw collectors to netsuke today, and how newcomers can begin building meaningful collections.

Kovels Antique Trader:  Bonhams is presenting several auctions during Asia Week, New York. How does this year’s lineup reflect current trends in the Asian art market?

Dessa Goddard: This Asia Week New York, Bonhams is presenting six live sales across Chinese Ceramics and Works of Art; Fine Chinese Snuff Bottles from the Francine and Bernard Wald Collection Part III; Fine Chinese Paintings, Calligraphy and Prints; Indian, Himalayan and Southeast Asian Art; Fine Japanese and Korean Art; and Netsuke from the Collection of Joseph and Elena Kurstin, Part II — each of which closely mirrors current collecting tastes in its respective field.

From the splendid Qianlong/Jiaqing Imperial pair of zitan corner-leg tables, the brilliant Qianlong Imperial Yangcai blue-ground  “lotus’ vase, the Zhang Daqian “Red Lotus’ from the Paul Mao Collection, the superb 16^th century Gold-ground Thangka of Amitabha, the  18^th century Rare and Important Korean  White Porcelain Moon Jar, the two recently discovered rare Park Soo Keun (1914-65) paintings, and, of course, the early impression of the iconic “Great Wave”  by Katsushika Hokusai (1760-1849) — this year’s lineup showcases works that are actively sought after by today’s collectors.

KAT: Asia Week has become a major gathering point for collectors and institutions. What role do these auctions play in shaping the global market for Asian works of art?

DG: As a collaboration of top-tier international Asian art galleries, 23 highly esteemed galleries, 27 museums, and six major auction houses, Asia Week New York drives the top collectors in all fields of Asian art to New York.

The auction houses provide the engine, as each of us has the breadth of masterpieces in all areas to attract our collectors, museum curators, and members of the trade, to complement the great museum exhibitions which are on display during this 10-day period.

KAT: With collectors coming from around the world, what types of objects or categories are you seeing the strongest demand for this season?

DG: Great Chinese mark and period porcelains are among the top attractions for collectors of Chinese art, as well as rare classical zitan and huanghuali furniture. Rare gilt bronzes from the Yongle (1402-24) period are also in high demand. Bonhams, the only auction house in the US that holds dedicated sales of Chinese paintings and works by Zhang Daqian, showcased in our auction on March 24^th, are among the most desirable paintings among seasoned collectors.  Japanese prints, particularly Ukiyo-e masters, are again selectively highly coveted, led by the world’s enthusiasm for the Hokusai “Great Wave”. 

There are strong markets in this great field of Asian art, and we at Bonhams enthusiastically welcome new and seasoned collectors to join us to celebrate Asia Week in our splendid new galleries at 111 West 57^th Street.

KAT: Netsuke have moved from functional objects to highly prized collectibles. What continues to draw collectors to these small carvings today?

Jeff Olson: In most cases, collectors are looking for netsuke that are successful as sculpture. The fact that they are miniature and once had a practical function—working as a toggle to hold a suspended medicine case—seems to be of little consequence. Even in their original functional role, netsuke designs often worked in a complementary visual role to the ensemble (the suspended medicine case and the ojime, the small fastener). A successful netsuke is powerful, balanced, and exhibits kinetic energy, just as a larger sculpture would. An additional attraction for netsuke collectors is the fact that these pieces are meant to be handled—they are highly tactile and can take on a patina and show pleasing surface wear the more they are handled over time. This is considered a positive enhancement by successive handling.

KAT: For readers who may be encountering netsuke for the first time, what should they look for when evaluating quality or artistry?

JO: First, the netsuke has to work as a sculpture: Does it exhibit proper balance and proportion? Does it realistically convey the characteristics of the subject, whether they be realistic, such as an animal or plant study, or a fantasy or mythical animal? It is essential that the piece expresses the essence of the subject.

Second, is the work well finished? The composition must work from all angles, and the underside, that is not normally exposed, should be finished to the same degree as all proper sides.

Third, does the piece feel good in your hand? That is sometimes the final criterion that separates a good netsuke from a masterpiece.

KAT: The sale includes works from notable collections. How does provenance influence collector interest and value in the netsuke market?

JO: Netsuke collectors put great stock in provenance. To own a piece of a legendary collection is considered a coup to many serious netsuke collectors. A number of famous collections were formed in the early 20th century in Europe and the UK, and collectors today have developed their eye and their passion for collecting by studying works from these great collections of past generations. When examples from these collections do come to market, people are eager to try to acquire them.

KAT: Netsuke often depicts animals, folklore figures, and humorous scenes. Are there particular themes or subjects that tend to resonate most strongly with collectors?

JO: Collectors have varied tastes. Some collectors prefer animal subjects, others look for supernatural beings, and some collectors will try to collect varied subjects from one particular artist. There are as many preferences as there are collectors.

KAT: Materials vary widely—from wood to ivory and other natural materials. How do collectors approach these different mediums today?

JO: With the international ban on elephant ivory, most collectors have focused on wood. There are some good examples carved in stag antler, but these are less prevalent. Perhaps because the material is so hard to work with, most carvers selected ivory and wood as their medium of choice. As a result, these are the materials that have come down to us today in the greatest quantities. Other materials are even less prevalent.

KAT: Some netsuke were carved by well-known masters. How important are signatures and artist attribution when assessing a piece?

JO: Signatures of certain artists do make a difference in market value. However, there is always the risk of whether these signatures are genuine or not, especially the big names. The vast majority of netsuke historically were not signed.

KAT: For someone new to collecting netsuke, what advice would you give about entering the market and building a meaningful collection?

JO: Join a study group or society of collectors near you. They are a great resource, and they are a studious group. The passion for netsuke among these societies is nothing short of amazing. A new collector will learn what to look for and watch out for by joining groups of like-minded collectors much quicker than wading into the waters on their own. I would also advise new collectors to follow auctions both in the US and abroad.

KAT: Among the netsuke in this auction, is there one that stands out as a personal favorite? What makes it particularly special to you?

JO: I like the man-faced kirin netsuke. I like the way it feels in the hand, and I also like its playful, almost taunting expression, both on its face and in its body language.

All images courtesy of Bonhams.

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In celebration of Asia Society’s 70th anniversary, Asia Society Museum presents Buddha and Shiva, Lotus and Dragon: Celebrating 70 Years of Asia Society and the Rockefeller Legacy. The exhibition is on view from March 18, 2026, to January 3, 2027.

Displaying seventy of the finest examples of Asian art in the United States drawn from Asia Society’s permanent collection, the exhibition showcases the extraordinary range of bronzes, ceramics, and metalwork thoughtfully assembled between the 1950s and the 1970s by John D. Rockefeller 3rd (1906-1978) and his wife, Blanchette Hooker Rockefeller (1909-1992). John D. Rockefeller 3rd founded the Asia Society in 1956 with the mission to promote greater knowledge of Asia in the United States; the bequest of the collection to the Asia Society in 1979 underscores the Rockefellers’ conviction that aesthetic encounters with great works of art promote deep cross-cultural understanding.

With highlights including spectacular Buddhist and Hindu sculptures, and rare Chinese, Korean, and Japanese ceramics, Buddha and Shiva, Lotus and Dragon celebrates historic achievements in Asian art spanning more than two millennia. The exhibition foregrounds the transformative power of faith and the catalyzing potential of international trade in the creation of great works of art across Asia.

The exhibition begins with a selection of Buddhist sculptures, tracing the transmission of Buddhism across Asia over two millennia. The exhibition continues with Hindu sculptures from South and Southeast Asia—largely from the 10th-14^th centuries—which form another strength of the collection. The last and largest section of the exhibition showcases metalwork and ceramics from China, Korea, and Japan.

Concurrently on view with Buddha and Shiva, Lotus and Dragon are two companion displays. The first features recent acquisitions from the daughters of Mr. and Mrs. John D. Rockefeller 3rd, Hope Aldrich and Sandra Ferry Rockefeller. The display includes eight new acquisitions along with five comparative pieces from the Asia Society Museum’s permanent collection. In addition, five spectacular artworks from the permanent collection, which were received from Blanchette Hooker Rockefeller, will be on display in the Visitors Center.

Asia Society Museum presents a wide range of pre-modern, modern, and contemporary exhibitions of Asian art and Asian diaspora art, taking new critical approaches to familiar masterpieces and introducing under-recognized arts and artists. The Asia Society Museum Collection comprises a pre-modern art collection, including the initial bequests of Mr. and Mrs. John D. Rockefeller 3rd, and a modern and contemporary art collection, launched in 2007. Through exhibitions and public programs, Asia Society provides a forum for the issues and viewpoints reflected in Asian and Asian diaspora art, culture, and society.

Find out more at AsiaSociety.org/NY. Connect with us on Instagram @AsiaSociety, TikTok @Asia.Society, Facebook, and X @AsiaSocietyNY.

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If I were ever to decide to move away from my cherished MCM slash Tiki-forward home decor, I believe I would have to go full-fledged farmhouse, from a combination of natural wood and whitewashed furniture to fake greenery and cream-colored throws on my white couch—it is my second-favorite aesthetic. It would give me free rein to bring out ALL of my collectibles—the plethora of McCoy pottery, the Fenton Silvercrest milk glass, and the various cast iron novelties that I’ve accumulated through the years. The highlight of it all would be strategically placed blue salt-glazed stoneware pieces, from the graduated cobalt of Westerwald wares to American floral-motif crocks. I have not yet begun collecting salt-glazed pottery, but I’m just a design whim away from another obsession.

There are few decorative objects that capture that relaxed farmhouse aesthetic quite as effortlessly as these salt-glazed pieces with their soft whitish-gray bodies and vivid cobalt designs. Long before they became staples of farmhouse design, these blue-decorated salt-glazed wares were valued for their practicality. In kitchens and cellars throughout early America, these crocks, pitchers, and other kitchenware served an essential purpose, storing everything from pickled vegetables to butter and salted meats.

From Westerwald to America

The roots of blue-and-white salt-glazed stoneware can be traced to the German Rhineland, particularly the Westerwald region, where potters developed whitish-gray stoneware decorated with cobalt blue designs. By the 16th century, pieces were fired with salt in the kiln to create a durable glaze, while cobalt oxide was used to paint bold blue motifs that stood out against the pale gray clay. Early examples often featured florals, birds, and decorative flourishes applied with brushwork or slip trailing.

To achieve the vivid cobalt blue color, potters painted designs onto the vessel using cobalt oxide before firing. When exposed to the intense heat of the kiln, the cobalt fused beneath the salt glaze formed by vaporized salt circulating through the kiln, producing the stunningly blue motifs collectors recognize today. In many American workshops, potters modified the traditional process by introducing borax along with the salt during firing. This adjustment softened the typical orange-peel texture, creating a smoother, almost glass-like surface that allowed the cobalt designs to appear sharper and more refined.

German immigrants carried this tradition to North America in the 18th century, establishing potteries in Pennsylvania, New York, Maryland, and Virginia. There, cobalt decoration became a hallmark of American stoneware. By the early 19th century, blue-decorated crocks, jars, jugs, churns, and storage vessels were being produced widely across the Northeast and later in Ohio. Although the forms remained largely utilitarian, freehand cobalt designs, ranging from simple tulips and brushstrokes to birds, animals, and inscriptions, gave each piece a distinctive, often lively character.

Not all salt-glazed stoneware carries the familiar blue decoration. Many examples, particularly utilitarian wares, were left undecorated and fired to a natural brown or gray tone with the distinctive bumpy surface collectors often describe as an “orange peel” texture. That effect occurs when salt thrown into the kiln at high temperatures vaporizes and reacts with the silica in the clay body, forming a thin glaze across the surface. Because the glaze forms from vaporized salt circulating through the kiln, the process is sometimes referred to as “vapor glazing.” While those pieces certainly have their place in the story of American stoneware, the focus here is on the blue-and-white tradition that developed alongside them.

Two Traditions, Two Distinct Styles

Collectors who prefer the blue-decorated salt-glazed stoneware to the natural brown are often drawn to the German wares that inspired the tradition. Pieces produced in the Westerwald region of the Rhineland are instantly recognizable for their whitish-gray stoneware bodies decorated with cobalt blue relief designs. Unlike American examples, which typically feature freehand brushwork, Westerwald decoration is usually molded into the surface and then filled with cobalt pigment, giving the vessels a sculptural quality. Many Westerwald pieces feature layered cobalt blues ranging from pale washes to deep, saturated tones. Floral rosettes, stylized vines, heraldic symbols, and hunting scenes are among the most common motifs. Beer steins with pewter lids are one of the most familiar forms, but pitchers, bowls, tankards, and decorative jars can also be found. Because these wares were produced for both everyday use and export, pieces range from simple and utilitarian to elaborately decorated vessels that highlight the skill of the mold maker and decorator.

American salt-glazed stoneware developed its own distinctive character as the craft spread across the northeastern United States during the 18th and 19th centuries. While German potters introduced the techniques, American decorators quickly adapted them, favoring bold designs applied freehand with brushes or slip-trailing tools. Crocks, jars, jugs, churns, and storage vessels were produced in large numbers for household use, but the lively cobalt decorations set many pieces apart from their purely functional purpose. Tulips, birds, animals, and sweeping floral motifs appear frequently, along with capacity markings and occasional inscriptions naming merchants or towns. Because these designs were applied rather quickly by skilled decorators working in busy pottery shops, each vessel carries a unique personality. This makes the American salt-glazed stoneware especially appealing to collectors who prize the connection to folk art traditions.

Collecting and Caring for Salt-Glazed Stoneware

When it comes to collecting, several factors influence the desirability and value of salt-glazed stoneware. Decoration is often the most important. Bold cobalt designs, especially large birds, animals, or elaborate floral motifs, tend to command stronger interest than simpler brushwork. Pieces bearing cobalt inscriptions identifying a maker, merchant, or town, whether painted or impressed, can also be especially appealing to collectors.

Auction results often reflect a loose hierarchy of desirability:

1. Large animal decoration (especially unusual subjects)
2. Large birds or elaborate folk motifs
3. Decorated pieces with maker or merchant names
4. Simple floral/tulip decoration
5. Undecorated utilitarian ware

Size can also make a difference. Larger crocks and presentation pieces required more clay, kiln space, and decorating time. In general, collectors should look for pieces that combine strong decoration, good proportions, and clear evidence of hand craftsmanship.

Authentication usually begins with examining the clay body and glaze. Genuine blue-and-white salt-glazed stoneware typically has a very light gray or near white body with a thin, glassy surface formed when vaporized salt reacts with the clay during firing. The decoration should appear fused beneath the glaze rather than sitting on top of it. Molded decoration on Westerwald pieces will show crisp relief details, while American wares often feature confident freehand brushwork that varies slightly from piece to piece. Signs of age, including wear on the base, minor glaze irregularities, and kiln marks, can also help distinguish authentic pieces from modern reproductions.

Proper care helps ensure these historic vessels remain in good condition. Although stoneware is durable, collectors should avoid harsh cleaning methods that could damage the glaze or decoration. Warm water and a mild soap are usually sufficient for routine cleaning. Sudden temperature changes should be avoided, as they can stress the clay body and lead to cracks.

From pale washes of blue to deep, saturated cobalt, the surfaces of salt-glazed stoneware can vary widely in shading, detail, and the subtle tones of the clay beneath. That variation is part of their charm. Each piece bears the unmistakable mark of the hands that shaped and decorated it, perhaps explaining why these historic wares still feel perfectly at home in today’s farmhouse style.

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Thinking about Hawai‘i often transports one to a scenic beach, surrounded by sand and palm trees as a cool breeze comes from the Pacific Ocean, and…is that the sound of a ukulele playing?

Although the 50th state is a pleasurable vacation destination, there’s much more to the archipelago. It is also home to a rich array of cultural traditions for its indigenous population.

Native Hawaiian culture began after Polynesian seafarers settled on the island around A.D. 1000. Over time, a rich, complex culture developed between multiple chiefdoms, where objects were made from materials sourced from the surrounding tropical flora and fauna. Although isolated in the Pacific, the 1778 arrival of James Cook brought European colonialism that soon disrupted traditional Hawaiian life and led to forced labor, loss of land, and disease.

The Native-led Hawaiian Kingdom began to form in 1795 and was fully unified in 1810. However, the kingdom was overthrown by American and European businessmen in 1893 with the backing of U.S. Marines. The islands were then annexed to the United States and ultimately became an American state in 1959. Despite these immense hardships, Native Hawaiian traditions and customs have proved resilient and continue to be practiced.

Hawai‘i: A Kingdom Crossing Oceans

The survival and pursuit of this often unknown history is the inspiration for the British Museum’s blockbuster exhibition, Hawai‘i: A Kingdom Crossing Oceans, on view until May 25. Although displayed in a British setting, the exhibition is focused on indigenous Hawaiian life and is curated from shared scholarship and collaboration with Native artists and knowledge-bearers. Showcased are 150 historic and contemporary artworks and objects from the British Museum, which holds one of the largest Hawaiian collections outside of the state, as well as loans from institutions such as the Bernice Pauahi Bishop Museum in Honolulu, Hawai‘i, and the National Archives.

“This co-stewarded exhibition is a tribute to Native Hawaiian makers, past and present. At its core, it tells the story of the deep and layered relationship between Hawai‘i and the United Kingdom, reflecting on care, sovereignty, and the complexity of allyship,” explains Curator and Head of Oceania at the British Museum, Dr. Alice Christophe, in a press release for the exhibition.

The show takes place 200 years after the visit to London by the second king of Hawai‘i, Liholiho (Kamehameha II), and Queen Kamāmalu, who ventured to England to seek an alliance with the British Crown. Among their stops was a visit to the British Museum, which was the first time Native Hawaiian ali‘i (chiefs and royals) were represented. Although the couple was able to secure allyship with Britain, the 1824 trip proved to be fatal, as the duo caught measles and died before their departure from London to Hawai‘i.

When the bodies of King Liholiho and Queen Kamāmalu arrived in Hawai‘i after their fatal visit, the mourning royal family was presented with gifts by British officials accompanying the delivery of the couple. These presents from this fatal trip are now in the exhibition and include a silver teapot with an ivory handle and details showing engravings by Robert Hennell II of the name “Kaahumanu” (Ka‘ahumanu) on one side and the British arms on the other.

But not all that is exhibited is tied to tragedy. Also on view are a multitude of indigenous-made objects, such as a barkcloth textile known as a kapa, a wood sculpture in the likeness of the god Kū, and contemporary work by Hawaiian photographer Kapulani Landgraf.

Striking both fear and beauty in the eyes of viewers is the attire of the ali‘i: a brightly colored orange and yellow, crescent-shaped mahiole hulu manu feathered helmet made from local bird plumage and woven from roots of the ‘ie‘ie plant. In an almost matching orange hue are ‘ahu ‘ula feathered cloaks, also decorated with plumes plucked from local birds that are tied to a net made from olonā fiber.

“This extraordinary exhibition not only reveals the beauty and significance of Hawaiian culture,” says Director of the British Museum Nicholas Cullinan in an exhibition press release, “But also highlights the journeys of people, objects, and stories across time and oceans, showing how these connections continue to resonate and inspire today.”
Although this is a must-see show for anyone in London, the British Museum isn’t the only place to view Native Hawaiian art and antiques. The Aloha State houses numerous antique stores, including Oahu Auctions and Antique Alley, and hosts the Wiki Wiki One Day Vintage Collectibles & Hawaiiana Show, which will take place on March 22, July 19, October 4, and November 22 this year.

Hawai‘i is also a destination for history buffs, where institutions like the Bernice Pauahi Bishop Museum and Capital Modern have collections and displays filled with Hawaiian artifacts. The state is also an active participant in the nationwide Semiquincentennial initiative and is featured in the Craft in America “West” episode of Season 17.
For more information about Hawai‘i: A Kingdom Crossing Oceans, visit the British Museum website.

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Everyone is Irish on St. Patrick’s Day, but Belleek ceramics are Irish all year round. The pottery takes its name from the village in County Fermanagh, Northern Ireland, where it was founded. John Caldwell Bloomfield inherited the Castle Caldwell Estate in Belleek in 1849. A survey of his new property found an abundance of natural resources: clay, shale, feldspar, and the crucial element for porcelain, kaolin, and the nearby River Erne, which could power a mill. Bloomfield partnered with two other Irish businessmen, architect Robert Williams Armstrong and merchant David McBirney, to open the Belleek Pottery on his estate. Construction for the building then began in 1858. After the Great Famine that began in 1845, Bloomfield employed his tenants to restore stability.

The pottery was making ceramics by 1863 and exhibited utilitarian earthenware and stoneware at the Dublin Exhibition of 1864. It was not long before they were making the delicate porcelain with the creamy white glaze that is synonymous with Belleek today. An elaborate Belleek tea urn and stand with details modeled after human and mythological figures inspired by Chinese art, marked for 1872, sold for £1,920 (about $2,500) at a Bonhams auction in London in November 2025. According to the auction house, Belleek displayed a similar urn among other products at the Dublin Exhibition of 1872.

Skilled artisans developed many forms and decorations for Belleek ceramics, which can be found in antique, vintage, and contemporary pieces. One of the most striking styles of Belleek porcelain is its openwork basketry, made from narrow ceramic strands painstakingly hand-worked. They are often decorated with detailed three-dimensional flowers. The original baskets are attributed to William Henshall, who worked at Belleek Pottery in the 1860s, but the company still handcrafts similar pieces today. Vintage examples can be fairly inexpensive; for example, a vintage Belleek openwork basket with a woven three-lobed base and roses around the rim, plus tiny shamrocks, sold for about $39 at an auction by The Benefit Shop Foundation Inc. in July 2025.

The most iconic Belleek design—certainly the most iconically Irish—might be its shamrock tableware. Introduced in the 1880s, these dishes have a basketweave texture accented by green-painted shamrocks. The company makes them today, and vintage and antique examples can be found at auctions. A set of six Belleek shamrock dinner plates sold at a Lion and Unicorn auction in October 2025 for $89. Belleek can usually be dated by the color of its mark, with additional details helping to narrow down the date. The mark on the dinner plate set is green and includes the “®” registered trademark symbol. This is known as the 5th Mark, which was used from about 1955 to 1965.

Perhaps comparable to the ways we Americans adapted Irish traditions into our culture (for example, the St. Patrick’s Day dinner of corned beef and cabbage is a distinctly American innovation), many American ceramics companies, like Ott & Brewer, the Ceramic Art Company (now Lenox, Inc.), and Willets, make an “American Belleek.” These pieces are usually painted with colorful designs, immediately distinguishing them from authentic Irish Belleek. They are also typically marked with their company’s name, even if the mark includes the word “Belleek.”

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The post The Beauty of Belleek appeared first on Antique Trader.

A Brief History of the First State

The peninsula between the Chesapeake Bay and the Atlantic Ocean has long been home to many Native American peoples, including the Lenape, Susquehannock, and Nanticoke. The Lenape are especially well known for their clothing and ornamentation, including beadwork and ribbonwork. The Susquehannock, described by English colonist John Smith as “a Gyant like people,” had several distinctive types of pottery.

Both Dutch and English colonists established trading posts in the area by the 1600s. The English considered the area part of the Virginia colony, and the name “Delaware” comes from Thomas West, 3rd Baron De La Warr, who was the governor of Virginia in 1610. Swedish colonists established New Sweden, which lasted from 1638 to 1655, on the Delaware River. In 1682, William Penn claimed “the Lower Counties on the Delaware” along with Pennsylvania. The name “Delaware State” was adopted in 1776 with its first constitution.

Delaware was the first state to ratify the United States Constitution, earning it the nickname “The First State.”

Two lasting institutions were established in Delaware in the early 1800s. French chemist Éleuthère Irénée du Pont came to North America in 1800 and founded his gunpowder factory, the largest in the United States, on the Brandywine River. Today, the DuPont chemical company still has its world headquarters located in Wilmington. The A.U.M.P. Church (African Union Methodist Protestant Church) was founded in 1813 by Peter Spencer as the “Union Church of Africans,” making it the oldest black church in the United States. It has celebrated the August Quarterly cultural festival in Wilmington since 1814.

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

Events focus on various perspectives on Delaware’s history, including the roles of women, African Americans, and Native Americans; resources for family history; the important roles Delaware played in the Revolutionary War; and everyday life, agriculture, and industry in Colonial and Federal times. Items in the collections of Delaware’s libraries, archives, and museums are crucial to these celebrations and in keeping Delaware history alive.

Delaware’s Craft and Collectibles Heritage

Lenape beadwork and ribbonwork are highly desirable to collectors of Native American art. Today, descendants of the Lenape continue to practice traditional art forms such as ribbonwork and beadwork. Contemporary Lenape artisans create these pieces both to preserve cultural traditions and to share their heritage at cultural gatherings and through modern artistic expression.

While collectors may support living Native traditions by purchasing directly from contemporary artisans, older works should be approached with care. Buyers should verify provenance and ensure that any historic pieces are being sold in compliance with cultural heritage protections and ethical collecting standards.

For collectors of antique advertising and packaging, the DuPont name is a familiar one. Founded in 1802 by E.I. du Pont along the Brandywine River near Wilmington, the company’s gunpowder mills played a major role in Delaware’s early industrial development. Powder cans, labels, and other packaging materials from the firm now attract collectors of early American industrial advertising.

Additionally, many pieces of Federal-period furniture were made in Delaware or commissioned by wealthy families living there. Local cabinetmakers produced refined tables, chests, and cupboard pieces that reflected the neoclassical style popular in the late 18th and early 19th centuries, and surviving examples remain prized by collectors of early American furniture.

Looking Ahead: America 250 Delaware Calendar Highlights

Throughout 2026 — Statewide America250 Programming

Educational programs, exhibitions, and community events marking the nation’s 250th anniversary.

March 28, 2026 – New Sweden Day

Commemorating the arrival of Swedish and Finnish colonists in 1638

Spring–Fall 2026 – Events at Greenbank Mills & Philips Farm

The living history museum will have a series of events on life and industry in Revolutionary War – era Delaware, including “Milling in the Revolution: Waterwheels and Water Power” (April 11), “Building America: Blacksmithing” (May 23), and “Feeding in the Revolution: Baking During the Revolution” (September 26)

June 12, 2026 – Separation Day 2026

Celebrating Delaware’s independence from Pennsylvania

July 3, 2026 — Two Lights for Tomorrow

Participation in the national commemorative moment.

July 4, 2026 — America’s 250th Birthday Celebrations

Civic ceremonies and local gatherings statewide.

July 8, 2026 — Simultaneous Reading of the Declaration of Independence

Public readings across Connecticut communities.

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The post America at 250: Delaware’s First State Heritage appeared first on Antique Trader.

For years, Charlotte Meyer in Zutphen, the Netherlands, believed that the antique prints she inherited from her grandfather were beautiful, but that their value was mostly sentimental. It wasn’t until much later that she sought an expert opinion and learned that she had a rare collection of etchings by Rembrandt.

Meyer had kept the folder of prints stashed in a drawer, but, when she came across it while packing for a move during the COVID-19 pandemic, she decided to contact the Rembrandt House Museum in Amsterdam. She told Dutch news outlet Omroep Gelderland, “When they came to my house to see the etchings, they were completely blown away and said, ‘Charlotte, you have no idea what you’ve got!’”

Meyer’s grandfather had collected the etchings between 1900 and 1920. “Nobody was interested in etchings at that time,” she says. “For just a few guilders, my grandfather bought 35 different ones.” The etchings would be worth much more now, especially since they are little known in the art world, having been kept in the family for about a hundred years. Meyer has not disclosed their current value.

Inspired by her discovery, Meyer began seeking more etchings by Rembrandt and other artists of the Dutch Golden Age, expanding her collection to 70 pieces. Her collection will be on display at the Stedelijk Museum in Zutphen as part of the exhibit “Rembrandt, from Dark to Light,” which opens on March 21.

This year has already had several remarkable events surrounding Rembrandt’s work. In February, his chalk sketch Young Lion Resting sold at a Sotheby’s auction in New York for nearly $18 million, a record for a Rembrandt drawing, with the proceeds going to wildcat conservation charity Panthera. More recently, the Rijksmuseum in Amsterdam confirmed that a painting in a private collection, Vision of Zacharias in the Temple, is the work of Rembrandt, despite having been previously dismissed as such.

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The post Rediscovered Rembrandt Etchings on Exhibit appeared first on Antique Trader.

The emerging technologies of the Atomic Age and Space Age fueled the imaginations of adults and children alike, and few items capture this spirit as well as the toy ray gun. The online “Vintage Ray Guns” sale held by Landry Pop Auctions on February 25 was a walk through the bold designs, thrilling tales, and sheer fun of the era.

The first metal ray gun toy was the Buck Rogers XZ-31 Rocket Pistol, introduced in 1934 by the Daisy Manufacturing Co. and based on the popular radio show and comic strip. A lot consisting of two rocket pistols, one with the original box, and a Buck Rogers holster, sold for $445.

The year it was introduced, the XZ-31 caused a shopping frenzy. Daisy continued making Buck Rogers toys, and more manufacturers jumped on the ray gun trend. There were plenty of sci-fi stories to inspire them. A set of two printed-metal click repeater pistols by Marx, consisting of a Tom Corbett Space Cadet Space Gun and a Flash Gordon Arresting Ray, each depicting its respective spacefaring hero, sold for $244. The toys appear to have the same design, just with different graphics.

The toys don’t have to reference a character to be desirable. The top lot was a Pyrotomic Disintegrator pistol by the Pyro Plastics Corp., which more than doubled its $3,000 high estimate, selling for $6,710. The auction called this exceptionally rare toy “a grail for space and ray gun collectors.”

Manufacturers around the world made toy ray guns. A plastic Air Gam dart gun, made in Spain, sold for $336 with its original box and three suction-tipped darts. A lot consisting of eight Japanese tin ray guns with colorful graphics, boasting names like “Astroray Gun” and “Space Jet,” sold for $732, more than twice its $300 high estimate.

For those who prefer nonviolent toys, several ray guns in the auction were made for peaceful purposes. According to its packaging, the 3-Color Space Ray Gun by the Ideal Toy Corp is “for interplanetary space signals” and flashes green, white, and red lights. One of these toys sold for $153 with its original box.

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Red coral jewelry is renowned for its vibrant, deep red hue, which immediately catches the eye and makes a bold, elegant statement. Unlike traditional gemstones, red coral is organic, formed from the skeletons of tiny marine polyps; it is highly prized for its rarity and unique origin.

The part of coral used in jewelry is not the living organism itself, but the hard calcium carbonate skeleton secreted by the polyps. While this structural framework is not alive, it is vital to the coral’s survival, as it provides essential support and habitat for the living polyps.

Throughout history and across cultures, red coral has been acclaimed not only for its beauty but also for its symbolic meanings. It is associated with vitality, passion, and strength, often seen as a representation of life force and courage. Traditionally, red coral is believed to offer protection, prosperity, and healing.

The craftsmanship involved in red coral jewelry is intricate, with artisans meticulously shaping and polishing each piece to showcase the coral’s natural luster and color. Each item is not just a piece of adornment, but a work of art that carries cultural stories and spiritual significance. It is a moment in time of the lives of the divers and artisans.

The process begins with the artist’s remarkable ability to discern the natural shapes concealed within the winding curves of coral branches. This keen observation, coupled with an anticipation of the subtle color variations and imperfections, guides the artist through each step of working with the coral. Rather than treating it merely as a raw material to be carved, the artists at Massa Gioconda approach it as a living entity, one that patiently awaits the moment when its inner form will be revealed.

Because red coral is relatively soft and porous, it requires gentle care to preserve its polish and color. Its rarity and environmental sensitivity also make it a treasured and collectible gem, especially when responsibly sourced.
The Mediterranean Sea is famous for its rich deposits of red coral, especially along the coasts of Italy, Greece, Spain, and the island of Sardinia. In these areas, vibrant coral reefs flourish, and divers meticulously collect the valuable coral branches, making the Mediterranean a renowned center for red coral harvesting.

This rare red coloration distinguishes Mediterranean coral from Pacific varieties, which tend to have more pink or white tones. The slow growth of Mediterranean red coral (Corallium rubrum), which takes decades to reach harvestable size, also contributes to its density, fine grain, and ability to take a high polish—all markers of exceptional quality.

Massa Gioconda is a distinguished, highly respected, world-renowned coral and cameo jewelry company based in Torre del Greco, Italy, a town legendary for its centuries-old tradition of coral harvesting and carving. Founded in 1976 by Giuseppe Marotta and his siblings, who come from an impressive lineage of Mediterranean coral fishermen and merchants, Massa Gioconda was established not only to broker raw coral but also to finish and carve it, partnering with master artisans to create exquisite jewelry and objets d’art.

Massa Gioconda recently donated coral samples to the mineralogy department of the Natural History Museum in New York City for research purposes. Together, they have developed a partnership in a training program. Massa Gioconda will also provide samples of finished and raw coral to the Smithsonian National Museum.

The company is celebrated for producing some of the most beautiful and rare coral jewelry, as well as museum-quality sardonyx shell cameos and unique accessories. Their collection includes a wide variety of hand-carved coral beads in colors ranging from white and salmon to pink and red, set in 18-karat gold. Massa Gioconda’s pieces are notable for their artistry and craftsmanship, with each item being uniquely shaped by its natural contours and qualities.

Massa Gioconda is also recognized for its innovative design approach, moving beyond traditional cameo forms to create dynamic, modern pieces that often depict a range of subjects—including classical and contemporary themes, wildlife, and flora. Their artisans are known for their ability to bring out a sense of movement and emotion in their carvings, making each piece a work of art.

The company adheres to strict environmental and ethical standards, participating with CITES to ensure that none of the coral species they use are endangered and that all coral from the Mediterranean is responsibly sourced, legal, traceable, and sustainable. Massa Gioconda’s commitment to quality extends to their advice on caring for coral jewelry, emphasizing the importance of avoiding heat, light, and chemicals to preserve each piece’s beauty and integrity.

Although harvesting restrictions have significantly decreased coral collection compared to previous decades, sustainable practices ensure that the beauty of Mediterranean precious coral will endure for generations to come.
Previous methods of collecting coral destroyed coral beds and threatened coral species with extinction. One method in particular was the use of the traditional, and now obsolete, St. Andrew’s cross or “ingegno.” The ingegno was a large wooden or iron cross to which the fishing net was tied. The ingegno was thrown into the water and dragged along the seabed. As it was dragged, the ingegno cut the coral at the base, and the coral was collected in the net. This destroyed the entire coral colony. This practice, harmful to the marine ecosystem, is now exclusively carried out by scuba divers.

The greatest threat to coral reefs is human activity. Climate change, pollution, illegal harvesting, coastal development, sunscreen chemicals, fishing, scuba diving, and boating all endanger coral survival. Fishing, in particular, is highly destructive: bottom trawls act like underwater weed whackers, scraping and breaking fragile colonies, while nets cause physical damage by entangling and snapping coral. Lost or discarded fishing gear—known as ghost fishing—continues to harm coral and marine life such as gorgonians (sea fans and red coral) even in the absence of people. Additionally, octopus hunters sometimes use harmful chemicals such as bleach, ammonia, or vinegar to flush out octopi, but these substances also damage nearby coral and other marine organisms.

The artisans at Massa Gioconda specialize in creating red coral jewelry that radiates a striking, vivid red hue, immediately drawing the eye and infusing any ensemble with energy and warmth. This bold color is more than just beautiful—it symbolizes vitality, passion, and strength across many cultures, evoking the very essence of vigor and resilience.

Each handcrafted piece from Massa Gioconda tells a story, blending nature’s elegance with human artistry. The organic origins of red coral, which are formed in the depths of the Mediterranean Ocean, add a layer of mystique, making every item unique and personally significant.

The traditional craftsmen at Massa Gioconda elevate red coral jewelry by meticulously shaping, carving, and polishing each piece to highlight its vibrant color and organic texture. By using time-honored methods and specialized cuts that are passed down through generations, they bring out the coral’s natural luster and unique character, whether in simple pendants, fascinating brooches, smooth beads, glossy cabochons, elaborate necklaces, bracelets, or sculptures. The result is a one-of-a-kind adornment that stands apart from mass-produced items.

In addition to jewelry, Massa Gioconda creates larger coral figurines and objets d’art, often incorporating gold and diamonds, which are highly sought after by collectors. The company’s philosophy centers on the emotional and artistic investment in each creation, valuing its relationship with customers as much as the artistry of its products.
I highly recommend a visit to their studio in Torre del Greco to anyone interested in the finest of Italian coral and cameo craftsmanship, as their work exemplifies the blend of tradition, innovation, and passion that defines the region’s jewelry arts.

The Marotta family’s proven expertise in selecting “rough” coral and pairing it with the right artisan for each piece ensures that the material’s natural beauty is fully realized. Their clientele includes top jewelers and connoisseurs from Europe, the U.S., and Asia, reflecting their international prestige and trusted reputation.

Massa Gioconda distinguishes itself through a fusion of artistic innovation, exceptional craftsmanship, ethical sourcing, and a respect for both tradition and the individuality of each piece, making its jewelry truly unique among coral artisans.

If you plan on visiting Naples, you might want to visit the studio of Massa Gioconda di Giuseppe Marotta in the village of Torre del Greco. You can travel another fifty minutes southeast and visit the beaches of Erchie, my grandfather’s village. You can also visit their website at massagioconda.it, and as always, let me know what you think.

Our guest appraiser is Dr. Anthony Cavo, a certified appraiser of art and antiques and a contributing editor to Kovels Antique Trader. Cavo is also the author of Love Immortal: Antique Photographs and Stories of Dogs and Their People.

Do you have a question for Collector’s Gallery? Send your question and photos via e-mail to ATNews@aimmedia.com. Please include as much pertinent information about your item as possible, including size, condition, history and anything else that might help in identifying and valuing your item.

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Every now and then, a moment calls for a different voice. This month is one of those times. As Kris Manty steps away as a monthly contributor, I wanted to make space for someone who has worked with her for nearly three decades. Retired editorial director Paul Kennedy’s history with Kris runs deep, and what follows is his tribute to one of his favorite colleagues, and one of ours. KJ

Retired editorial director Paul Kennedy worked with Kris Manty since 1997, starting in the book publishing business and then at this magazine. He shares his thoughts on one of his favorite colleagues:

So, what do you want to know about Kris Manty? I’ve worked with her for almost thirty years. You learn a lot about a person in three decades, but to save you time, there are only two things you really need to know about Kris. First, she is one of the most versatile writers and editors I have ever worked with. Second, she is nice.

You get paid for the former. You live a life by the latter.

If you boil it all down like so much maple syrup in spring, life is simple. You can be a jerk, or you can be nice. That’s it. Those are the options. The rest is so much yada, yada, yada. If you think being nice is not a big deal, you are wrong.

Nice is Kris’s superpower.

When you’re as nice as she is, you can get away with murder, although I don’t ever remember her trying to get away with anything that diabolical. Which is why I often thought she could—get away with murder, that is. No one would ever suspect her. As a matter of fact, if Kris someday confessed to me on my deathbed that she was indeed a contract killer, I wouldn’t be shocked. Her Yooper niceness is the perfect cover.

And yes, Kris is first and foremost a Yooper.

Kris was born and raised in the Upper Peninsula of Michigan, where residents are affectionately known as Yoopers. She grew up in Ishpeming, specifically in an area known as Green Creek (pronounced “crick,” of course). If you are geographically challenged, just know this: the Upper Peninsula of Michigan is vast, beautiful, and way, way, WAY up north.

Bordered on three sides by the Great Lakes (Superior, Michigan, and Huron), the U.P. includes a national lakeshore, two national forests, and thousands of inland lakes and rivers. At more than 16,000 square miles, it’s almost twice as big as New Hampshire with about a fifth of the population. The U.P.’s 300,000 residents are spread out in a mess of small towns separated by miles of woods and wildlife. It’s a different world, the U.P., a place where people remind loved ones to “drive safe, and if you hit a deer make sure it’s a big one.”

And the winters—holy schnikes!—the U.P. endures winters where snowfall has been known to come in both September and May. Ishpeming, Kris’ hometown, gets about 200 inches of snow a year. That’s why a Yooper newborn doesn’t get something as useless as a stuffed animal, a rattle, or a keepsake blanket at birth. Nope, propped in the crib next to that little bundle of joy, you’ll spot a baby’s first snow shovel. In the U.P., it’s never too early to learn the fine art of snow removal.

Why is all this important? Because this nature, and space, and winter shapes a person. Or misshapes them. In Kris’s case, it shaped her in the most interesting way.

Kris is quietly quirky and sneakily funny. Among other things, she loves horror movies, ‘80s new wave music, Seinfeld, dogs that are so goofy-looking they are beautiful, Victorian fashion, and giggling. Laughter is her second language. I think because the U.P. is so cold, Yoopers need to find a way to fend off hypothermia. Most turn to saunas. Kris turned to laughter. Hers is indeed warm, full-bodied, and infectious. Her laughter is so profoundly wonderful that it should be recorded for posterity’s sake, just in case the world loses its sense of humor and needs a reminder of what it’s missing.
In brief, that’s the Kris I’ve come to know over the past thirty years. She’s been a joy to read and a joy to work with.

And she’s really, really nice. But if she turns out to be a contract killer … well … I tried to warn you. – PK

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