In June, objects once owned and used by the entertainer Prince sold for thousands at the Marvels of Modern Musicauction by RR Auction. The highest-selling memorabilia at $9,525 was a notebook sheet of paper with partial handwritten lyrics for the song, “Ol’ Skool Company.” Although anything winning at over $9,000 is usually considered a high-earning bid, this was a minuscule offering compared to other Prince-related ephemera, including a Yellow Cloud 3 electric guitar sold for $910,000 at Julien’s in June 2024 and the famous “Purple Rain” white ruffled shirt that went for $75,000 at a 2021 RR Auction. 

It is safe to say that Prince’s legacy continues both in culture and under the hammer. 

An important contributor to these Prince-themed auctions after his 2016 passing was his sister Tyka Nelson (1960–2024), who was an heir to his estate. She sought to preserve Prince’s memory by often representing on her brother’s behalf at industry events and was an important figure in establishing Paisley Park, an estate once owned by Prince that is now a museum dedicated to the musician. 

Nelson was raised alongside Prince in Minneapolis with an appreciation for music that was encouraged by their jazz musician parents. As her brother became an icon, Nelson also pursued a music career and became a singer and songwriter who was known for her Royal Blue album and her 1988 single, “Marc Anthony’s Tune.”

Performing was only a component of Nelson’s life; she was a mother and a wife. She also had a passion for fashion, known for her personal style that, at times, included wearing purple, and a beloved luxury handbag collection that included in-demand brands such as Chanel, Louis Vuitton, and Hermes. She had a collector’s eye for rarity and was in possession of many special-order purses, like a 2017 Chanel classic jumbo single flap 23-series and a two-tone blue Hermes Birkin 30 HSS made from taurillon clemence and Togo leather with palladium hardware. 

Upon her death in 2024, Nelson’s brother-in-law inherited her handbag collection. After seeing a Chicago news story about the city’s vintage market, he was inspired to help support small businesses with the sales of Nelson’s handbags. He then consigned the collection to John Crispino of the vintage boutique JCR Luxury. 

The first sale of the Tyka Nelson Collection will occur at the Prince + Prosecco Party, a private shopping event at the Stephen M. Bailey Auditorium at Plumbers Hall in Chicago. The event occurs on November 13 from 5 pm through 7 pm and is in partnership with the vintage store Archived Luxe and hosted by the Randolph Street Market. For sale will be purses that are in what Crispino describes as “incredible condition” that have been authenticated by Entrupy and LegitGrails. “Our expectations are to get collectors and admirers of high-end handbags engaged and to sell the collection for a good profit for the family,” explains Crispino.

Some pieces that will surely catch collectors’ attention at the event include a rare color-blocked violet and blue Birkin 35 Clemence Arelquin with an Hermès silk Twilly scarf and attached Prince symbol charm and a limited-edition Fendi Peekaboo black outline and blue bag created in collaboration with artist Joshua Vides. 

Those interested in obtaining a purse must act fast. “We decided to start small with a ticketed preview event to showcase the bags,” says Crispino. “But they may not be available the entire weekend due to the high value of these items.” 

Information about the Tyka Nelson Collection can be found at tykacollection.com and tickets for the November 13 “Prince + Prosecco Party” can be purchased at randolphstreetmarket.com. Each ticket purchase will donate 25% of the price to benefit the Dr. Martin Luther King Jr. Boys and Girls Club of Chicago.

Bag another great article:

Elizabeth Taylor’s Handbag Sets Auction Record

Thrifted “Golden Girls” Bag Sells for Nearly $200K

Birkin Breaks the Bank at Sotheby’s

The post A Prince-ly Birkin appeared first on Antique Trader.

More personal than a postcard, but still inexpensive to buy and mail, these pillowcases (also called pillow covers or shams) provided comfort in more ways than one. They were usually made for small, decorative pillows. Most measure about 20 by 20 inches and have attached fringe around the edges.

There is a great variety in decorations, but the most common of these pillowcases reflect both the giver and the recipient, often including sentimental imagery like hearts or flowers along with military insignia or patriotic symbols. They typically include at least the name of the military branch. Many also have the name of the camp or fort where the buyer was stationed.

Lettering is common on these pillowcases. Some have a dedication for the recipient, like “To My Sweetheart” or simply “Mother;” and some have a brief rhyming verse or even a multi-stanza poem about love, patriotism, and memory.

These pillowcases are not always dated, but the style of the design, especially if it includes portraits or images of military vehicles, can indicate their age. So can the material. Early examples are said to be made of silk, but World War II–era pillowcases are often made of rayon. Stronger and less expensive than silk, but with the same soft, smooth texture and shiny finish, rayon, a synthetic fiber made from cellulose, was in widespread commercial use by the 1930s. Decorations on most pillowcases are usually painted or printed, but a few are embroidered.

Sweetheart pillowcases were often sold near military installations in the United States so service members could send gifts home before they were deployed. Today, they are sought by collectors of textiles and military memorabilia. Some look for pillowcases from installations where family members were stationed. In this way, these souvenirs keep doing what they were meant to do: keep the service members who purchased them in our thoughts.

The post Sweetheart Pillowcases are Military Mementoes appeared first on Antique Trader.

It offered the chance to see some fascinating collectibles and talk with some equally fascinating vendors who seem to live and breathe this stuff.

The convention lasts just shy of a week, and took place this year from July 26th through August 1st. The buying and selling of collectibles begins the first day in the form of a loosely organized “room hopping” event that began that Monday evening and ran through Wednesday evening.

Not wanting to miss out on any of the fun, we arrived in time to experience some room hopping for ourselves. We were not disappointed. Multiple dealers spread out their wares on bureau tops, beds, walls, and even hallways!

We made our first stop at old friend Tom Keefe’s room, filled as expected with a large assortment of interesting political pieces.

He’s been at this a long time, and everyone knows who I’m talking about when I mention his name. [He’s the one who suggested I might enjoy this convention and invited me to attend.]

I expected prices to be pretty high at these room sales, and that was mostly true. But I did find a couple of rooms with political buttons (pin-backs) offered at rock bottom prices: $1-$2 each, my favorite price range. I picked up quite a collection, as you can see.

Later that night, we had dinner at nearby Michael’s Harborside Restaurant in Newbury, MA. I definitely recommend the delicious lobster rolls and eating out on the patio overlooking the harbor.

The next morning, bright and early, we attended the first official day of the convention sale, which featured all sorts of political collectibles: buttons, figurals, ceramics, ephemera, and more

The place was jam-packed with sellers, many with intriguing items for sale, like President Nixon as a clown in Allan Dorsey’s booth.

Or Jacqueline Kennedy in the shape of a head vase. The dealer wasn’t sure the manufacturer intended it to be her, but the resemblance is pretty striking.

One of the most interesting pieces I came across was this well-loved teddy bear, purported to be one of the originals named after Teddy Roosevelt. The asking price was just $295.

Having a personal affinity for vintage and antique cookbooks, I enjoyed coming across this older edition of the White House Cook Book, originally published in 1887. It dates to 1909 and is valued at $25-50 in this condition.

For beginners like me, lower-ticket items such as these bumper stickers, along with buttons and paper goods, can be found for $1-5 each. I picked up a few more buttons and these bumper stickers to add to my growing collection of political items.

Political memorabilia collectors are concerned about future generations developing an interest in these items. As a result, many vendors had giveaways for first-time collectors. Sometimes a button or a bag of buttons. One such vendor, Germaine Broussard, went so far as to gift nicely sized displays to any newbies who came to her booth.

Later in the afternoon, we decided to venture out into the Danvers area and hit an antique shop called Vintage on 2 in nearby Peabody. It takes up the entire 2nd floor of an old mill.

The shop is bursting at the seams with merchandise, some nicely displayed, some piled in a bit of a hodgepodge, as you can see in this photo.

The windows, however, provided a great opportunity for displays like this one, filled with brightly colored glass.

I picked up a couple of things at Vintage on 2, including the antique ironstone sugar canister you see (above center) for my personal use (cost: $10, value: $25). I know, I know, it doesn’t have a lid–so sad, but still a beautiful piece of English pottery.

The John Edwards pottery in Fenton (UK) produced this “St. Louis” shaped piece in the 1850’s. I plan to use it as a vase; pink tulips should look especially lovely in it.

That night we met up with old friends (from back in my NYS Assembly days) at Daniella’s Cafe, right in Danvers. The setting was lovely, service fantastic, and portions large.  Highly recommend this charming trattoria.

Bright and early the next morning, we walked back down to the convention where sales continued to be brisk. A dealer’s silent auction (as well as a live auction in the afternoon) kept things exciting, and I shortly learned that I won a miscellaneous box for $22!

It contained plates galore (about 30 total), other ceramic collectibles, and several pieces of ephemera. (President Dwight and Mamie Eisenhower plates, value: $8-20 each).

In the end, I unearthed quite a lot of Eisenhower memorabilia, including “A March to Eisenhower” sheet music from 1953 (value: $10-15) and a pink transferware plate by Vernon Kilns with him at the center (value: $10-20)

This pair of Wedgwood dishes also came out of the box, one featuring President Truman, the other President Eisenhower (value: $10-20 each).

The collection contained two copies of The Story of John F. Kennedy (value: $10-20) and six of the Lincoln-Kennedy pennies (value: $5-15 each). Each penny bears a stamped profile of Kennedy to the right of Lincoln’s head.

The card lists a number of interesting coincidences, for example, both of their successors were named Johnson.

Lastly, I’ll mention this famous lithograph on cardboard of JFK and his brother Robert by Alton Tobey (value: $10-15) and a November 29, 1963 issue of Time magazine published shortly after the assassination (value: $10-15).

All in all, it was $22 well-spent.

After the big win, we left the convention for good and headed out for a final antique adventure, this time to Canal Street Antique Market, located in the reimagined Everett Mill in Lawrence, MA. It’s located right across the way from the gorgeous old mill you see here.

A look down one of the very long hallways in the Market, which houses upwards of 125 different dealers.

Upon entering the shop, a gal who recognized me from my website approached, and we had a nice chat. We then wandered over to her beautifully decorated booth.

After shopping for about an hour, I picked up: a framed religious print in vibrant colors (cost: $16, value: $35-40), a luminous oil painting (cost: $14, value: $35-45 when framed), and a pretty little Khus-Khus, Jamaican perfume bottle (cost: $3, value: $22-25).

Before signing off, I just have to mention that across the street from the Market, visitors can find the remarkable Heritage Square, filled with suspended umbrellas and sculptural artwork. It was magical.

Between learning about the world of political memorabilia and exploring local antique shops, this trip definitely hit the mark for vintage excursions. I always find dipping my toe into a new area of collecting rewarding; maybe you will too!

Find More of Diana Petrillo’s Vintage Adventures:

American Thrift Store

Brimfield Bound

A Pennsylvania Antique Adventure

The post Where History Meets Politics: Exploring a Political Memorabilia Convention appeared first on Antique Trader.

Collecting ceramics may be seen as traditional, even old-fashioned, but there is plenty of room for eccentricity. This puzzle mug by George E. Ohr is an unusual piece by an unconventional artist. There are holes in its sides; if you try to fill it and drink from it like an ordinary mug, the liquid spills out, probably onto you. Puzzle mugs usually have a hollow portion, often in the handle, that works like a drinking straw. The trick is to know which holes to cover and which to drink from.

A puzzle mug is a fitting piece for George Ohr, who had a flair for the unusual. Ohr, known as “the Mad Potter of Biloxi,” was born in 1857 and started working on his own as a potter in 1883. He made his pottery with exceptionally thin walls in twisted, folded shapes, glazed in rich colors. Ohr loved self-promotion and considered himself “the best potter in America,” but sold little of his pottery and faded into obscurity. By the time his pottery was rediscovered in the 1970s, one of the few resources available about his work was an article by Ralph and Terry Kovel. As if making up for lost time, Ohr’s pottery now sells for high prices. This mug sold for $2,250 at a Rago auction.

Q&As

Q: I have this odd $20 bill with facial markings, and I don’t know who to take it to for a value that I can trust. Can you please help me with this?

A: The markings on your bill look like part of the word “TELLER.” They are probably from a teller stamp. When bank tellers bundle bills together to go into the vault, they wrap the bundle with a paper strap, then stamp the strap and add their initials to verify that they counted the bundle. Your bill was probably on top of a bundle where the teller’s stamp slipped and partly missed the strap. On one hand, this does not make the bill rare or worth more. On the other hand, it is still legal tender and can be spent like any valid $20 bill. We would recommend taking the bill to a bank to have it examined. They may be able to exchange it for an unmarked bill.

Q: Trying to get information and value about this unusual trunk. It’s about 100 years old. The original owners (now deceased) got it as a wedding gift. They said it came from Spain and cost about $1,000. The red/green covering appears to be leather. The lining is velvet. The base is made of particleboard, perhaps added later. The trunk is 36″ L × 17 1/2″ W × 20″ H, excluding the feet. I am not seeing any brand.

A: Trunks were traditional wedding gifts up to the 20th century. They would be filled with household items the newlywed couple would need for their new home. After the wedding, they would store mementos and heirlooms. Hope chests, which young women would fill with textiles they made to supply their future households, were a similar idea.

Spanish trunks made of wood or leather can be especially desirable for their distinctive looks and skilled craftsmanship. There was a revival of Spanish Colonial style furniture from about 1915 to the early 1930s, especially in the American Southwest. This fits with your estimate of the trunk’s age, although it does not establish whether the trunk was made in Spain or in the Spanish Colonial Revival style. The particleboard base may have been added later. It’s not uncommon to see antique and vintage trunks with later feet. Trunks with flat bases were often meant for traveling, while trunks with feet or on a stand could be used as furniture. Dome-top trunks prevented other luggage from being stacked on top, helping protect the trunk and its contents during transit.

Dome-top leather trunks with exterior decoration like nailheads or tooled designs have sold at auctions for about $200 to over $1,000. Prices depend on the trunk’s age, size, material, and condition.

COLLECTOR’S TIP:

To be collectible, trunks should be in good condition, preferably with their original finishes intact. Refinishing can significantly reduce a trunk’s value as an antique, particularly when original surfaces or decorative details are removed. Trunks in poor condition can be refinished to be attractive and useful as furniture, but extensive refinishing may diminish their interest to serious trunk collectors.

More Collector Questions Answered:

Collector’s Notebook: From Zebra Feet to Flying Fortresses

Collector’s Notebook: A Merry Halloween

Collector’s Notebook: A Look Back at the Bicycle Delivery Trade

Collector’s Notebook: A Royal Dux Beauty Brings the Seaside Home

Collector’s Notebook: Old-World Style Meets Contemporary Furniture

Collector’s Notebook: Identifying Loetz Austria Glass

The post Collector’s Notebook: The Mad Potter of Biloxi appeared first on Antique Trader.

A Brief History of the Beaver State

For thousands of years, Native peoples lived throughout the region now known as Oregon. Along the Columbia River, communities developed extensive trading networks, while the peoples of the Willamette Valley relied on the area’s fertile land and abundant natural resources. Coastal tribes depended heavily on fishing, particularly salmon, which played an important role in their economies and cultural traditions.

Oregon is home to nine federally recognized tribes today, each with its own history and cultural identity. Among the Native peoples associated with the region are the Chinook, Kalapuya, Klamath, Coos, and Umatilla. Their traditions continue through tribal communities that preserve their heritage while contributing to Oregon’s cultural life.

European interest in the region grew during the 18th century as Spanish and British expeditions explored the Pacific Coast. In 1792, American sea captain Robert Gray entered the Columbia River, strengthening American interest in the region. The Lewis and Clark Expedition reached the Pacific Ocean in 1805 and spent the winter at Fort Clatsop near present-day Astoria.

The fur trade soon brought additional newcomers. British and American trading companies established posts throughout the Pacific Northwest, and the Hudson’s Bay Company became particularly influential. Fort Vancouver, established in 1825 on the north bank of the Columbia River in present-day Washington, became a major trading center.

By the 1840s, the Oregon Trail had become one of the most important migration routes in American history. Thousands of settlers traveled west in covered wagons, hoping to establish farms and new lives in the fertile Willamette Valley. The journey stretched roughly 2,000 miles from Missouri and could take several months. Travelers faced illness and dangerous river crossings, and many never reached their destinations.

The migration brought profound changes for Native peoples already living in Oregon. Settlers claimed lands that had supported Indigenous communities for generations, while diseases introduced through earlier contact had already devastated many populations. During the 1850s, treaties and federal policies forced numerous tribes from their homelands onto reservations, including Grand Ronde and Siletz.

The United States and Great Britain settled their competing claims to much of the Pacific Northwest through the Oregon Treaty of 1846. Oregon Territory was established in 1848, and on February 14, 1859, Oregon entered the Union as the 33rd state.

Oregon’s early government also reflected the racial discrimination of the period. Although slavery was prohibited, the state’s original constitution included a provision excluding Black people from settling in Oregon. The exclusion provision remained in the constitution until 1926. These laws are an important part of the state’s history, revealing the contradictions between the promise of opportunity in the West and the restrictions placed on those who could pursue it.

During the second half of the 19th century, Oregon’s economy expanded through agriculture and the timber industry. Salmon fishing and canning became major industries along the Columbia River, while railroads connected Oregon communities to markets farther east. Portland grew into an important commercial port, and the state’s forests supported a thriving lumber industry.

Oregon also attracted immigrants who helped build its communities and industries. Chinese workers played an important role in railroad construction and mining, despite facing widespread discrimination. Japanese immigrants later contributed to Oregon’s agricultural economy, although many Japanese Americans were forcibly removed and incarcerated during World War II.

In the 20th century, Oregon became known for its outdoor recreation and growing cultural industries. The state’s natural beauty attracted visitors, while businesses such as Pendleton Woolen Mills helped establish a lasting reputation for quality American-made goods. Today, Oregon’s historic sites and museums preserve the stories of the people who shaped the Beaver State.

Honoring the 250th

The America 250 Oregon Commission is coordinating the state’s observance of the nation’s 250th anniversary. Established in 2024, the commission works with museums and communities throughout Oregon to encourage participation in the celebration.

Oregon’s anniversary programs recognize that the state’s history began long before the United States was founded. The commission’s We, the First People initiative highlights the state’s nine federally recognized tribes and encourages visitors to learn about their histories directly from tribal sources.

Museums throughout the state are also presenting exhibitions that explore Oregon’s past and the experiences of its residents. The Oregon Historical Society’s traveling photographic exhibition, The Pursuit of Happiness, celebrates the people and places that make Oregon distinctive. Other programs examine the experiences of immigrant communities and the ways Oregon residents have contributed to American life.

The anniversary also provides an opportunity to explore the historic Oregon Trail and the communities that developed along its route. From the Columbia River Gorge to the Willamette Valley, Oregon’s historic sites offer visitors a chance to discover the state’s role in the nation’s westward expansion.

Collecting Oregon

Oregon’s collecting heritage reflects its natural resources and the industries that developed around them. From Native-made baskets to vintage wool blankets, objects associated with the Beaver State offer collectors a connection to the Pacific Northwest’s history.

Among Oregon’s most distinctive traditional arts is Native American basketry. The region’s tribes developed weaving techniques suited to locally available materials, producing baskets used for gathering and food preparation. Some were also created for ceremonial purposes or trade. Designs and construction methods varied among tribal communities, making accurate attribution important for collectors.

Historic Native-made baskets remain highly collectible, particularly examples with documented tribal origins and provenance. A late-19th-century Klamath basket woven from tule and dyed tule, featuring a geometric design, sold for $1,000 on 1stDibs.

A Note to Collectors: When purchasing Native American art and handcrafted goods, buy directly from Native artists and artisans whenever possible, or from reputable dealers who can document an item’s authenticity and provenance. Collectors should never remove artifacts, including projectile points and other stone tools, from archaeological sites on federal or tribal lands without authorization. Such activities may violate the Archaeological Resources Protection Act (ARPA). Be cautious of objects marketed as Native American-made without reliable attribution, and remember that federal law prohibits misrepresenting products as Indian-made under the Indian Arts and Crafts Act.

Oregon’s textile industry offers another familiar name to collectors: Pendleton Woolen Mills. Although the company’s roots reach back to earlier woolen manufacturing in the Pacific Northwest, the modern Pendleton operation began in 1909 when the Bishop family reopened a mill in Pendleton, Oregon.

The company became known for its colorful wool blankets, many featuring geometric designs developed for Native American customers. Pendleton blankets became popular throughout the country, and vintage examples remain sought after for their designs and craftsmanship. Early labels can help collectors identify the approximate age of a blanket, while condition and pattern influence its appeal. A vintage Cayuse blanket from the 1920s, featuring bold red geometric patterns, sold for $1,800 in October 2021.

Beyond textiles, Oregon’s forests provided materials for another distinctive collecting tradition. Myrtlewood, a hardwood found along the southern Oregon coast, became especially popular for decorative objects and souvenirs during the 20th century. Its swirling grain and warm coloring made it appealing to woodworkers, who fashioned it into bowls and other household accessories.

Vintage myrtlewood pieces are often associated with the coastal communities where small workshops produced goods for tourists. Some retain their original labels identifying Oregon makers, while others can be recognized by their characteristic wood grain. Hand-turned bowls and carved animal figures offer collectors an affordable connection to the state’s woodworking heritage.

Myrtlewood objects sometimes have fascinating histories of their own. A personal tobacco humidor belonging to President Franklin D. Roosevelt, made from Oregon myrtlewood, was among the Roosevelt belongings sold at Hammer Galleries in 1951. Still containing tobacco when offered decades later, the humidor brought $2,987.50 at Heritage Auctions in November 2011.

Oregon’s timber industry also generated a variety of advertising collectibles. Lumber companies promoted their products through printed advertisements and promotional merchandise, while logging camps and mills produced equipment and memorabilia that recall an important period in the state’s economic development.

The state’s fishing industry left behind an equally colorful collecting legacy. Salmon canneries along the Columbia River and Oregon coast used illustrated labels to distinguish their products on store shelves. These labels often featured salmon and scenic images of the Pacific Northwest, making them appealing examples of early commercial artwork.

Collectors seek original salmon can labels for their graphics and connections to historic canneries. Vintage advertising signs and packaging associated with Oregon seafood companies provide additional opportunities to explore the industry’s history. An 1887 engraving depicting Pacific Coast salmon fisheries and canneries in Astoria, Oregon, was recently offered on eBay for $42, providing another visual reminder of the industry.

As Oregon’s communities grew, railroads became essential to moving lumber and agricultural products to distant markets. Railroad memorabilia associated with Oregon lines includes lanterns and depot signs, along with timetables documenting passenger service across the state. Objects connected to the Oregon-Washington Railroad & Navigation Company and Southern Pacific offer reminders of the period when rail transportation helped transform the Pacific Northwest. An antique Adams & Westlake lantern with a red glass globe, associated with the Oregon-Washington Railroad & Navigation Company, sold for $425 on eBay in October 2026.

The Oregon Trail itself has inspired generations of collectibles. Commemorative postcards and souvenir plates often feature covered wagons crossing the plains, while historical publications preserve accounts of the journey west. Original diaries and letters written by emigrants are particularly compelling because they provide firsthand accounts of the journey. An 1850 Oregon Trail diary attributed to Henry Hubbard of Iowa, containing 100 pages and six hand-drawn maps, sold for $4,375 at Heritage Auctions in October 2013.

Oregon’s collecting interests extend into more contemporary territory as well. The University of Oregon’s Ducks have inspired a variety of sports memorabilia, from vintage pennants and football programs to mascot merchandise. The Oregon Duck has even received the Funko Pop! treatment, joining the company’s lineup of collectible vinyl figures.

Together, these collectibles tell a story that extends from Oregon’s Indigenous traditions to the industries that shaped its development. Whether a vintage Pendleton blanket or an old salmon can label, each offers a tangible connection to the Beaver State’s past.

Looking Ahead: Oregon’s America 250 Calendar Highlights

Oregon’s anniversary celebration continues through the end of 2026 with exhibitions and community events exploring the state’s history. Museums across the state are offering opportunities to discover Oregon’s cultural heritage and the experiences of the people who have called it home.

Through November 14, 2026 — Sapper: Sgt. Wayne Woodruff and the Great War, Woodburn Museum, Woodburn

This exhibition explores World War I through the experiences of Sgt. Wayne Woodruff, a combat engineer. Personal belongings, including his trench coat and military materials, offer visitors a look at the life of an American soldier during the Great War.

November 14, 2026 — Archaeology Roadshow, The Dalles

The fourth annual Archaeology Roadshow in The Dalles features the theme “Fire & Water.” Archaeologists and heritage specialists will present exhibits exploring the region’s history and archaeological discoveries. Participating organizations include tribal representatives and universities.

Through November 29, 2026 — How We Show Up: Oregon Jews in Civil Society, Portland

Presented by the Oregon Jewish Museum and Center for Holocaust Education, this exhibition explores the contributions of Jewish Oregonians to civic life since statehood. Drawing on the museum’s collections, it examines the experiences of individuals who helped shape their communities.

Through December 31, 2026 — The Pursuit of Happiness, Cannon Beach History Center & Museum, Cannon Beach

This traveling photographic exhibition, created through a partnership involving the Oregon Historical Society and America 250 Oregon, highlights the people and traditions that make the state distinctive. Photographs by Peter Marbach capture celebrations and everyday life across Oregon.

Through December 31, 2026 — Waves of Tradition, Coos History Museum, Coos Bay

This exhibition celebrates Oregon’s South Coast and its maritime heritage. Visitors can explore the region’s shipbuilding and fishing traditions, along with the stories associated with its coastal communities.

For more anniversary activities and updates, visit the America 250 Oregon calendar.

Explore More America at 250:

America at 250: Oklahoma, the Sooner State

America at 250: Ohio, the Buckeye State

America at 250: North Dakota, the Roughrider State

America at 250: North Carolina, The Tar Heel State

America at 250: New York, The Empire State

America at 250: New Mexico, The Land of Enchantment

America at 250: New Jersey: The Garden State

America at 250: New Hampshire: The Granite State

America at 250: Nevada: The Silver State

America at 250: Nebraska: The Cornhusker State

America at 250: Montana: The Treasure State

America at 250: Missouri: The Show-Me State

America at 250: Mississippi: The Magnolia State

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: Oregon, the Beaver State appeared first on Antique Trader.

For generations in the United States, craft has been a traditional activity for girls. Learning how to sew, embroider, and paint has been a multi-use skill, as it acted as a form of self-expression and was a useful tool for maintaining a home and socializing during adulthood. Although not as frequently learned today, craftmaking was especially popular in the eighteenth and nineteenth centuries, with many needlework, paintings, and samplers surviving.

Although the girls who made this work have grown, the creative artifacts of their childhood have found a new home in the American Folk Art Museum’s exhibition, Locating Girlhood: Place and Identity in Early American “Schoolgirl” Art, on view until February 28, 2027. The show highlights 100 objects from over 35 institutions and private collections. Showing items that are both made by American girls and works depicting them, the curation presents this craft through an artistic perspective that examines the girls’ experiences within the time they lived, while also showcasing it as examples of early American art.

Kovels Antique Trader interviewed the American Folk Art Museum’s Deputy Director and Chief Curatorial and Program Officer, Dr. Emelie Gevalt, about the exhibition and what American girlhood means through these historic objects.

Kovels Antique Trader (KAT): How is girlhood defined in the exhibition? How is it represented in the artwork?

Emelie Gevalt (EG): While curating Locating Girlhood, we wanted to focus on girls and young women who created artwork as part of their upbringing, education, or young adulthood. There is a range represented in the show, so we see examples from girls at 10 or 11 years old, but also much more advanced compositions by older teenagers who, for instance, attended boarding schools and learned to make extremely complex landscape over-mantle painting.

Girlhood is represented throughout these objects in many different ways. We see girls representing themselves, if not directly through self-portraiture, through the inclusion of female figures, sometimes shown as one half of a courting couple—a social rite of passage that would have been on the minds of many young embroiderers. They also developed compositions focused on their local and regional surroundings, including residences, community buildings, municipal buildings, churches, and schools, reflecting their own experiences within their daily environments.

KAT: Have any prior exhibitions explored this topic? If so, did this show build upon those other exhibits, or does it offer a more unique voice/perspective?

EG: There have of course been many important shows looking at what’s often referred to as “schoolgirl” art, including projects that looked specifically at embroidery or more broadly at the range of ornamental arts girls made as part of their education.

What we wanted to do with this exhibition—and what we hope will feel most fresh to our audiences—is to focus on the pictorial content of the objects, rather than solely on the surrounding historical context or questions of identification (such as who made a particular artwork, what schoolteachers were involved, or how we can trace the development of particular patterns within a region or time period—all important issues that have been central to scholarship in the field).

We thought the best way to bring new questions to this topic would be to focus on the images themselves and ask, as the scholar Andrea Pappas does in her recent book, Embroidering the Landscape, why do these objects look the way that they do? What does that tell us, not only about an individual girl’s experience, but about American social and art history and how girls contributed to the making of a visual and material world in ways often overlooked in favor of the study of male fine artists? Why is landscape such a prevalent theme in these images, and how did girls use these works to comment on their sense of place in the world?

KAT: How has/does the artistic items made by early American girls and women contribute to the country’s artistic legacy?

EG: Although girlhood artworks, especially needlework, drew heavily on British precedents early on, American girls made different choices and developed their own localized style. For example, the earliest work in Locating Girlhood, a needlework picture attributed to Sarah Phillips dated around 1670, looks very British, but it is unlike a British example from that time period in its use of wool thread, a material available to American makers at that time. Even in a simple difference like this, we can start to understand the circumstances of the British American colonies through the materiality of these objects. Looking at the theme of place across time, from the late 17th century to the early/mid-19th century, we see these works as a reflection of their historical context, which helped to create a distinctive sense of place among British Americans, and later contributed to evolving ideas of independent American identity amidst the process of nation building.

You can see this clearly in the later part of the 18th century and the early 19th, as the kinds of pictures girls made shifted. We move away from sweeping landscapes in the style of British pastoral pictures and see an increasing prevalence of architectural samplers, aligning with the circumstances of a new nation literally under construction. New civic buildings were being constructed, new houses were being constructed, along with a new sense of what it meant to be an American woman.

Through the ideal of what scholars have termed “Republican motherhood,” girls were being raised with democratic principles in mind, with the message that they would have a key role to play in raising their sons as educated, responsible democratic citizens. We start to see icons of the domestic sphere, like family residences, paired with national symbols. For example, a needlework picture by Maria Bolen features a large eagle on top of a home surrounded by a garden landscape with various familial figures going about their work. An image like this unites the personal and the political, tying girls’ visions of domestic life to the aspirations of the young republic.

Many schoolgirl art projects also drew from print sources, which were increasingly popular and available during this period of growth. We see girls adapting compositions created by male painters and making them their own. In one work by sisters Eleanor and Rebecca Kaiser, the allegorical figure of Liberty, shown as an adult woman in Edward Savage’s original composition, becomes a younger girl situated within a domestic landscape. Through works like this, girls disseminated the evolving visual vocabulary of American democratic ideals while also putting their own stamp on it and bringing it into a scale that applied to their own lives.

KAT: What were the life experiences for these girls and women? What was their artistic education?

EG: Although some kinds of ornamental arts were accessible only to affluent older students, needlework was part of basic education for young girls across all walks of life. Every girl was expected to know how to sew. Well-off students, such as Faith Trumbull, might have traveled to boarding schools in urban centers like Boston, where they created highly ambitious pictorial needleworks in the mid-18th century.

After the Revolution, there was a surge in the creation of academies for girls, especially along the eastern seaboard, and school became more accessible for girls from the middling classes. In the early 19th century, education also became more widely available for African American girls in burgeoning free Black communities like Philadelphia, New York, Boston, and Baltimore. So they too made samplers, which became especially important as abolitionist and Black activist tools: Black educators and activists recognized education as a key to social progress for their communities, and a well-worked sampler could be held up as material proof of Black girls’ equal abilities.

Also in the early 19th century, girls’ curricula became more academically rigorous, introducing subjects like geography. There was a surge in girls’ mapmaking projects, not coincidentally at a moment when the United States was growing and expanding. We can see students’ geographical work in that light, as a means of situating the maker within a larger world in regional, national, and global terms.

KAT: How does this exhibition coordinate with the US’s semiquincentennial?

EG: We planned Locating Girlhood as an opportunity to showcase underrepresented stories in connection with the semiquincentennial—to create space for voices often overlooked in the documentary archive whose stories can be told through objects. Girls’ contributions to American history can easily be left out of the narrative if we’re looking only at text-based resources. In addition, girlhood artworks are often associated with elite makers, but our selection also emphasizes the range of students participating in these handicrafts.

Locating Girlhood will appear in our galleries alongside Folk Nation: Crafting Patriotism in the United States, which draws from the American Folk Art Museum’s rich collections to take a critical look at how the construction of folk art as a collecting category has been interlinked with expressions of American identity.

KAT: What will visitors learn after visiting the exhibition?

EG: I hope visitors will come away with an expanded sense of how much girls and young women contributed to the visual world around them and gave shape to their social worlds. It’s easy to fall in love with the charm of these objects, but they’re also so rich as storytelling objects. It’s an extraordinary opportunity to be in the presence of objects, made hundreds of years ago, that communicate such a wealth of overlooked experiences from our shared American past.

Find more art content:

Thrift Store Purchase is a Scottish Painter’s Masterpiece

A Nation of Folk

Framing a Nation in Art

The post Crafting Girlhood: New Exhibit Transforms Schoolgirl Craft to Art appeared first on Antique Trader.

Oklahoma’s history is a tumultuous one, from the forced relocation of Native Americans to the Dust Bowl and terrorist attacks of the 20th century. Yet the people who call the state home have shaped a rich cultural heritage through their traditions and determination. As the nation celebrates its 250th anniversary, the Sooner State offers much to discover.

A Brief History of the Sooner State

Archaeological evidence shows that humans were hunting bison in Oklahoma by the end of the last ice age. During the Woodland and later Mississippian periods, Indigenous communities developed farming settlements and constructed earthworks and ceremonial mounds, some of which remain important archaeological sites today. Ancestors of the Wichita people established farming villages along the Washita and South Canadian rivers, while other Native peoples inhabited the region’s plains and woodlands.

Spanish explorers reached present-day Oklahoma by the mid-1500s. Contact with Europeans and the introduction of horses contributed to changes in trade and migration. The Comanche and Kiowa established themselves in the Southern Plains, while the Osage maintained an extensive presence in the region. Eastern Oklahoma was part of the territory claimed by France and passed to the United States through the Louisiana Purchase of 1803. The present-day Panhandle had a different territorial history, eventually becoming part of Oklahoma Territory in 1890.

During the 19th century, the United States government designated much of the region as Indian Territory. Native American peoples east of the Mississippi River were forcibly relocated there, a practice that increased after the Indian Removal Act of 1830. The forced removals of the Cherokee, Chickasaw, Choctaw, Muscogee, and Seminole peoples, historically grouped by the United States under the now-outdated term “Five Civilized Tribes,” became part of the larger tragedy known as the Trail of Tears.

Today, Oklahoma is home to 39 distinct tribal nations, many of whose ancestors were forcibly relocated to the region. The name “Oklahoma” comes from the Choctaw words okla and humma, meaning “red people.”

Even after their removal from their homelands, Native Americans in Indian Territory faced increasing pressure to cede land to the United States. On April 22, 1889, the federal government opened approximately 1.9 million acres known as the Unassigned Lands to settlement. Thousands of homesteaders rushed to stake claims, while some entered the territory before the official starting time. Those early claimants became known as “Sooners,” giving Oklahoma its enduring nickname.

The Oklahoma Organic Act of 1890 established Oklahoma Territory, separate from Indian Territory. Although leaders of the Five Tribes proposed creating a state called Sequoyah, the two territories were eventually combined. On November 16, 1907, Oklahoma entered the Union as the 46th state. Guthrie served as its first capital until 1910, when the state government moved to Oklahoma City.

Oklahoma prospered during the early 20th century, finding success in ranching, farming, and the oil industry. Many Black communities also thrived despite the Jim Crow laws enforced throughout the state. Greenwood, a prosperous Black neighborhood in Tulsa, became known as “Black Wall Street.” In 1921, white mobs attacked and destroyed much of the neighborhood during the Tulsa Race Massacre, killing an estimated 100 to 300 people and leaving thousands homeless.

Tragedy continued into the 1930s, when the Great Depression and falling oil prices brought economic hardship. Severe drought and poor farming practices contributed to the Dust Bowl, devastating farms and forcing many families to leave the state. Their experiences became part of the American consciousness through literature, photography, and music.

Oklahoma’s economy began recovering during the 1940s, and World War II brought military installations and new employment opportunities. The musical Oklahoma!, based on a play by Oklahoma native Lynn Riggs, premiered on Broadway in 1943, bringing the state’s name and pioneer history to audiences across the country. During the following decades, civil rights advocates and Native American activists challenged discrimination and fought for greater recognition of their rights.

Another major tragedy struck on April 19, 1995, when the bombing of the Alfred P. Murrah Federal Building in Oklahoma City killed 168 people. The attack remains the deadliest act of domestic terrorism in United States history.

Oklahoma’s state motto, “Labor omnia vincit,” translates from Latin as “Work conquers all.” It appears on the state seal and reflects an ideal that has long been associated with the state’s agricultural and industrial heritage.

Honoring the 250th

Oklahoma is participating in the nation’s 250th anniversary through OK250, a statewide initiative promoted by Oklahoma Tourism & Recreation. Community events, educational programs, museum exhibitions, and travel experiences commemorate the signing of the Declaration of Independence while exploring the history and cultural heritage of the Sooner State.

The initiative also encourages educational activities and provides resources for teachers and students. Museums and historic sites throughout Oklahoma are participating with exhibitions and programs examining the state’s history, including the experiences of Native American nations and communities whose stories are an essential part of the American experience.

The year 2026 also marks the centennial of Route 66, the highway known as “America’s Main Street” and the “Mother Road.” Oklahoma has more drivable miles of historic Route 66 than any other state, and the highway has played an important role in the development of its communities and roadside businesses. The anniversary is being celebrated through special events, museum exhibitions, and road trips that encourage visitors to rediscover this historic route.

Collecting Oklahoma

Much of Oklahoma’s history and culture is inseparable from its Native American nations, whose artistic traditions continue to influence the state’s collecting heritage. Historic beadwork and moccasins reflect the distinctive skills and cultural identities of their makers, while contemporary Native artists work in traditional and modern forms. Collectors should purchase from artists themselves or reputable dealers who can document an object’s authenticity and provenance.

Among Oklahoma’s notable Native artists was Acee Blue Eagle (1907–1959), an artist of Muscogee and Pawnee heritage whose work drew on Native American history and cultural traditions. His illustrations and decorative designs appeared on ceramics and other objects, bringing Native American imagery to a wider audience. A decorated “Famous Oklahoma Indians” beverage set attributed to Blue Eagle sold for $200 at Freeman’s in September 2026.

Another important Oklahoma artist was Benjamin Harjo Jr. (1945–2023), a Seminole and Shawnee artist known for his colorful geometric compositions. Harjo studied at the University of Oklahoma and developed a distinctive style incorporating elements of Native American design. His work appeared in exhibitions and public collections, as well as commercial projects. A framed print of his Oklahoma-themed portrait, inspired by Seminole patchwork and created for Absolut Vodka’s statehood campaign, sold for $212 at Rapid Estate Liquidators and Auction Gallery in July 2026.

Oklahoma’s artistic heritage also extends to pottery, particularly the distinctive wares of Frankoma. Ceramicist John Frank founded the company in 1933, combining his surname with Oklahoma to create its name. The business initially operated in Norman before moving to Sapulpa, where it became associated with locally sourced clay and Southwestern-inspired designs.

Early Frankoma pieces were made from light-colored Ada clay, while later production used the reddish clay associated with Sapulpa. Collectors often distinguish between the two, along with the company’s changing marks and glaze colors. Prairie Green and Desert Gold became especially recognizable, complementing the company’s Western motifs and sculptural forms.

Left: A Frankoma pottery vase featuring a cactus relief in Desert Gold glaze sold for $195 at Crafted Auctions in September 2026. Courtesy of Crafted Auctions. Right: A pair of Frankoma Ada clay horse bookends with Prairie Green glaze sold for $195 at Revere Auctions in April 2026. LiveAuctioneers/Revere Auctions.

Frankoma produced decorative pottery as well as practical household wares, including dinnerware, vases, bookends, and serving pieces. Its designs frequently reflected the landscape and culture of the American West. A Frankoma dealer’s sign featuring a prowling panther sold for $3,120 at Revere Auctions in April 2026, illustrating the appeal of unusual pieces associated with the company. More familiar examples include a cactus-relief vase in Desert Gold glaze, which sold for $195 at Crafted Auctions in September 2026, and a pair of Ada clay horse bookends in Prairie Green that brought $195 at Revere Auctions in April 2026.

Beyond the decorative arts, Oklahoma’s oil industry generated a wealth of advertising collectibles. The discovery and development of major oil fields during the early 20th century transformed communities across the state. Tulsa became an important center of the petroleum business, while companies operating in Enid, Oklahoma City, and other communities supplied fuel to a rapidly growing nation.

For collectors, that history survives in oil cans, advertising signs, and promotional materials bearing the names of Oklahoma companies. Colorful graphics and distinctive company logos make these objects appealing examples of American advertising, particularly when they retain their original finishes. A sign advertising the O’Neal Drilling Company of Oklahoma City sold for $2,640 at Richmond Auctions in January 2026. A rare five-quart oil can produced by the Champlin Refining Company of Enid for the Oklahoma Highway Commission brought $1,800 at Oil Capital Collectibles in August 2026.

As automobile travel expanded, Oklahoma’s roads became part of another important chapter in American history. Established in 1926, Route 66 connected Chicago with Los Angeles, passing through Oklahoma communities that welcomed travelers with service stations, restaurants, and roadside attractions. During the Dust Bowl years, the highway also became a route west for families seeking work and a new beginning.

Route 66 memorabilia offers collectors a tangible connection to this era. Vintage postcards document roadside landmarks, while motel signs and service station advertising recall the businesses that served generations of travelers. Original road maps, tourist brochures, and souvenirs are especially appealing when they identify specific Oklahoma communities or businesses. An Oklahoma Route 66 highway sign with cat’s-eye reflectors sold for $7,500 in 2018, while a vintage linen postcard advertising the Tulsa Motel on U.S. Route 66 brought just $5.99 in 2025, illustrating the range of prices collectors may encounter.

These objects reveal the varied experiences that shaped Oklahoma. From Native American artwork and Frankoma pottery to oil-industry advertising and Route 66 souvenirs, the state’s collectibles offer reminders of the people and industries that helped define the Sooner State.

Looking Ahead: Oklahoma’s America 250 Calendar Highlights

Oklahoma’s anniversary activities continue through the end of 2026 with exhibitions, celebrations, and living-history programs. Several events also recognize the centennial of Route 66 and the state’s Native American heritage.

October 10, 2026–January 4, 2027 — By the Dawn’s Early Light: Oklahoma Tribal Flag Songs, First Americans Museum

This exhibition explores flag songs from five of Oklahoma’s tribal nations and their importance in honoring Native veterans. Visitors can learn how music and cultural traditions express community identity and respect for military service.

Throughout November 2026 — Native American Heritage Month, Choctaw Landing

Demonstrations, events, and performances, including fancy dancers, stickball games, and a Native Fashion and Film Festival, contribute to a monthlong celebration of Native American culture.

November 11, 2026 — Route 66 Centennial Celebration, Tulsa

Celebrate 100 years of the Mother Road with Tulsa’s Veterans Day Parade, a Centennial Crawl of local businesses, live performances, and screenings of Crossroads of America: Oklahoma’s Route 66.

November 14, 2026 — World’s Oldest Free Fly-In, Fairview Municipal Airport

This annual aviation event has been running for more than 70 years and features classic, antique, and experimental aircraft.

November 16–17, 2026 — History Alive: President George and Martha Washington, Oklahoma History Center

Actors portray George and Martha Washington as part of America 250 and Oklahoma statehood celebrations.

November 28–December 12, 2026 — A Territorial Christmas Celebration, Historic Downtown Guthrie

Guthrie kicks off its Christmas celebration with a lighted parade and continues with historic home tours and Victorian-themed events recalling the city’s territorial days.

December 1–5, 2026 — Winter Decorating for Christmas at Fort Gibson

Watch 19th-century-style decorations go up at Fort Gibson Historic Site and learn how Christmas was celebrated during the Civil War.

December 12, 2026 — Christmas at the Fort, Fort Towson Historic Site

Learn about 19th-century Christmas traditions through living-history interpreters, including an 1860s soldier, with tours and games.

For additional anniversary activities, visit Oklahoma’s official OK250 calendar.

Explore More America at 250:

America at 250: Ohio, the Buckeye State

America at 250: North Dakota, the Roughrider State

America at 250: North Carolina, The Tar Heel State

America at 250: New York, The Empire State

America at 250: New Mexico, The Land of Enchantment

America at 250: New Jersey: The Garden State

America at 250: New Hampshire: The Granite State

America at 250: Nevada: The Silver State

America at 250: Nebraska: The Cornhusker State

America at 250: Montana: The Treasure State

America at 250: Missouri: The Show-Me State

America at 250: Mississippi: The Magnolia State

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: Oklahoma, the Sooner State appeared first on Antique Trader.

cheshireantiquesconsultantltd.com

Email: cheshireantiquesconsultant@gmail.com

The post Cheshire Antiques Consultant LTD® appeared first on Antique Trader.

Years ago, I obtained a 1999 Base Set Holo Charizard #4 Pokémon card that has spent the better part of three decades tucked safely inside a protective sleeve. I got it when I bought a deck of Pokémon cards for my son, spotted the shiny Charizard, and decided it was much too pretty to leave to the mercies of a child barely beyond the throes of toddlerhood.

I liked Charizard. I liked the artwork (not as much as Pikachu, but that’s a story for another day). And I certainly wasn’t thinking about what that card might be worth nearly 30 years later.

Thanks to my son’s obsession, I was an early connoisseur of Pokémon: Indigo League and the first three theatrical films, Pokémon: The First Movie (1998), Pokémon: The Movie 2000 (1999), and Pokémon 3: The Movie (2000). I knew my Pikachu from my Bulbasaur, understood the appeal of a good Pokémon battle, and had developed a genuine affection for the colorful creatures that had taken over our home—cartoon or card.

And my Pokémon enthusiasm didn’t end when my son grew up. I’ve been playing Pokémon GO since the game debuted in 2016. Apparently, some of us never outgrow the urge to catch ’em all.

So when Richmond Auctions announced that its November 7 Premier Sports Cards & TCG Auction would include 37 Pokémon cards, including a PSA 9 example of the very same 1999 Base Set Holo Charizard #4 I’ve kept all these years, it naturally caught my attention.

And then I saw the bidding.

Charizard Takes Center Stage

Among the auction’s highlights is a 1999 Base Set Holo Charizard #4, graded PSA 9. Featuring the familiar fire-breathing dragon-like Pokémon against a holographic background, the card comes from the original 102-card English-language Base Set that helped launch Pokémon’s American trading card phenomenon.

For those of us who remember the excitement surrounding those early cards, Charizard was something special. With its formidable power and fiery personality, it was the Pokémon everyone wanted in their collection.

Apparently, collectors still agree. As of November 5, bidding on the PSA 9 example has reached $2,400, with two days remaining before the auction.

Of course, condition matters enormously in the world of collectible trading cards. Professional Sports Authenticator (PSA) grades cards on a 10-point scale, with PSA 9 indicating Mint condition. Even cards that have been carefully stored for decades can have small imperfections that affect their grades.

The Original Pokémon Gang

Charizard isn’t the only familiar face making an appearance.

A 1999 Base Set 1st Edition Shadowless Charmeleon #24, graded PSA 10, offers collectors an exceptionally well-preserved example of Charizard’s earlier evolutionary stage.

For anyone who remembers watching the animated series, Charmander’s evolution into Charmeleon and eventually Charizard was part of the fun. The little fire-breathing Charmander didn’t stay little forever, and Charizard certainly wasn’t the easiest Pokémon for Ash Ketchum to manage.

This particular Charmeleon carries the coveted first-edition designation and the shadowless design characteristic of the earliest English Base Set printings. Its PSA 10 Gem Mint grade makes it especially appealing to collectors who prize condition.

And what would a Pokémon auction be without Pikachu?

A 1999 Base Set 1st Edition Shadowless Yellow Cheeks Pikachu #58, graded PSA 9, brings the franchise’s most recognizable character into the mix.

Pikachu has been Pokémon’s unofficial ambassador since the beginning, thanks in no small part to his starring role alongside Ash in Pokémon: Indigo League. The card’s yellow-cheeked illustration is an early variation that collectors distinguish from the better-known red-cheeked version.

Old Favorites, New Cards

Pokémon collecting didn’t end when the original generation of fans grew up. If anything, the cards became more elaborate, with full-art illustrations, special finishes, and new rarity classifications giving collectors fresh reasons to keep hunting.

One of the auction’s modern highlights is a 2026 Ascended Heroes Mega Gengar ex Special Illustration Rare #284, graded PSA 10.

Gengar, the mischievous Ghost-type Pokémon introduced in the original generation, has always been a memorable character. Its wide grin and shadowy appearance made it a natural favorite for fans who appreciated Pokémon’s slightly spooky side.

The modern Mega Gengar card brings that familiar character into a very different era of collecting, with intricate artwork and a premium rarity designation that would have seemed worlds away from the cards we were trading in 1999.

Another eye-catching offering is a 2019 Sun & Moon Black Star Promo Moltres/Zapdos/Articuno GX #SM210, graded PSA 10. Its stained-glass-style artwork depicts the three legendary birds in a colorful composition that looks more like a miniature work of art than a traditional trading card. Bidding had reached $300 as of November 5.

It’s a wonderful example of how far Pokémon card artwork has come, even as the characters themselves remain instantly recognizable.

Still Gotta Catch ‘Em All

Richmond Auctions’ Premier Sports Cards & TCG Auction begins at 11 a.m. Eastern on Saturday, November 7, at 526 Congaree Road in Greenville, South Carolina. Online bidding is available now.

For collectors who grew up with Pokémon, the auction offers a chance to revisit the cards that once filled childhood binders. For newer collectors, it provides a look at how the hobby has evolved, from the original Base Set to today’s elaborate illustration rares.

As for me, I still have that holographic Charizard I admired enough to tuck away before my son got his hands on it. It’s been protected all these years, although I’ve never had it professionally graded.

After seeing what collectors are willing to pay for a PSA 9 example, I’m beginning to think it might be time to find out just how well my Charizard (and a few of his Base Set buddies I also managed to snag) have aged.

Gotta Catch Some More!

Pokémon Collection Found in Attic Sells in Record Auction

Pokémon Spam Goes From Grocery Shelves to eBay Sales

Pokémon-Shaped Snack Wins World Record

The post Gotta Catch ‘Em All! Pokémon Cards Head to Auction appeared first on Antique Trader.

The original map of the Mason-Dixon line, surveyed, drawn, and signed by Charles Mason and Jeremiah Dixon, was sold to an anonymous buyer for $1,187,500, including buyer’s premium, at Brunk Auctions on October 29.

The auction was held both online and in person at Brunk’s location in Asheville, North Carolina. There were three other lots, all of which included 18th-century maps containing borders between Maryland and Pennsylvania, and all of which sold above their high estimates.

In colonial America, the respective charters for the colonies of Maryland and Pennsylvania overlapped. Boundary disputes grew worse as both colonies expanded westward, leading to the bloody conflict of Cresap’s War in the 1730s. Charles Mason and Jeremiah Dixon, both English surveyors and astronomers for the Royal Society, were assigned to survey the border and confirm the boundary as part of the resolution to the conflict.

Mason and Dixon arrived in America in November 1763 and delivered their two manuscript maps to Pennsylvania Commissioner Richard Peters in January 1767. Their survey was a difficult one, requiring help from Native American guides. It is considered the first geodetic survey, which accounts for the size and curvature of the Earth.

The boundary became known as “Mason and Dixon’s line.” After Pennsylvania abolished slavery in 1780, it took on additional significance as the border between slave states and free states. This significance grew during debates about the Missouri Compromise of 1820 and the years leading up to the Civil War.

The map that sold at the Brunk auction was initially acquired by Pennsylvania Commissioner Benjamin Chew (1722-1810). It remained in his family until 1982, when his descendants sold it, along with other documents from Colonial and Revolutionary-era America, in an auction at Christie’s. Publisher Malcolm Forbes beat out the Library of Congress with his bid to buy it for $360,000. It was sold to another buyer for $556,000 at another Christie’s auction in 2002.

According to AP News, the map attracted 45 bidders at the Brunk auction. Even though it didn’t reach its high estimate of $1.2 million, Lauren Brunk, vice president of the auction house, says it sold for “a very high price for a map.” She was “thrilled that this is going to a good home.”

Today, the main divide marked by the Mason-Dixon line is mostly cultural, and the line itself draws visitors for its hiking trails and historic markers. The map remains an important part of U.S. history and the science of surveying.

Map mania:

Found for $10: Texas A&M University buys early map of Texas and letter for $10,500

Mapping out a living through color and repair

The “Rex Tholomeus” Portolan Chart

The post A Million-Dollar Map Shows the Original Mason-Dixon Line appeared first on Antique Trader.