4 comments about Twelve Old-Time Cats Bookmarks (Small-Format Bookmarks).

1. I just got the bookmarks and they are wonderful! They are very glossy and durable, I love them!



2. I love these bookmarks!!! The cats are adorable and I enjoy seeing the colorful images of them whenever I open up a favorite book with a cat bookmark in it. The bookmarks are colorful and bright and the kitties are soooo sweet! Beautiful product.



3. It's so handy, and better than dog-earing my books.
   
   I love buying this because when I just need another buck or two to push me over into the $25 range to get free SuperSaver shipping. I don't get why I have to pay the extra buck in processing fees though...



4. These are very cute. My only gripe is that they are only printed on ONE SIDE, and I like my bookmarks to be printed on both sides.
   But, they are very cute, and I gave these as a gift.

1 comments about Old-Fashioned All-Occasion Cards: 24 Cards (Card Books).

1. This is a charming collection that invokes memories of a gentler time. The postcards feature holiday themes, most with sweet faced children and soft, cuddly animals. The patriotic cards (Memorial Day, President's Day, Fourth of July)are rousing and powerful. This is a delightful collection that will charm the recipient.

5 comments about An Ounce of Preservation : A Guide to the Care of Papers and Photographs.

1. This is one terrific book. Just what I needed to get started with my old photos and papers before it was too late to salvage them. Obviously, Mr. Tuttle (the author) knows his stuff. "My stuff" has been saved by his sage advice. Thanks, Mr. Tuttle.



2. As a guide book written specifically for lay persons, An Ounce of Preservation has an educational mandate. As such, it is compelled to offer well-researched and accurate information in all details. At the same time, it attempts to simplify a highly complex field to fit the format of a short booklet that can be understood by a reader who has never concerned himself with document preservation before. The main dilemma of this book becomes apparent at the point where these two goals meet: simplification versus accuracy - can both coexist? Some critical observations must be made that demonstrate how the author has compromised the accuracy of his text by falling into some of the traps of over-simplification.

   In the process of simplification, information must be excluded, and the choice of what to omit and what to highlight is not an easy one, particularly in view of the rich history of photographic processes. The guiding principle should be to describe foremost the processes most likely to be encountered by the family historian in his personal collection of historic documents. Unfortunately, Tuttle has decided to concentrate on less common processes. He mentions gelatin based black and white prints in only one sentence, and almost as an afterthought (p. 28), although this process accounted for the vast majority of all photographic prints for about 70 years. Collodion prints, though widespread and likely to be present in every album that goes back at least to the 1880s, are not even mentioned once. Rather, the author describes negatives in detail and even dedicates two sentences to albumen coated glass plates, which never abounded and are exceedingly rare today.

   Complex cause/effect relationships may become too difficult to describe in short paragraphs, but their simplification can easily lead to slight or great inaccuracies, as can be seen throughout the book. The use of parentheses as a space saving method of explaining a former term can lead to misunderstandings, as for example with the description of the calotype process, which "involved the application of silver iodide (a light-sensitive solution) to a sheet of paper..." (p. 24). Silver iodide may be light-sensitive, but it is not a solution, as Tuttle's wording implies. Silver iodide is in fact insoluble in water, and can thus only be formed on the paper fibres by the subsequent application of two aqueous solutions to the paper surface: that of potassium iodide and that of silver nitrate. Had the author formulated his explanation accurately, he might have written, for example: "...involved the precipitation of light-sensitive silver iodide on a sheet of paper". The use of chlorides was actually more common than that of iodides at that time.

   Next to shortening by exclusion of information, the author has chosen to use what he calls plain language - a term that indicates that he is avoiding complex language which the lay reader could not understand. In going down this path, Tuttle uses a terminology that implies that the issue at hand is really more complicated than he can expect the reader to grasp. One of the most used terms in this book is "pH-balanced", which is neither defined, nor used consistently in one sense. The true meaning of this term, which, incidentally, is not commonly used in conservation literature, remains elusive no matter how long it is contemplated. In An Ounce of Preservation it is used to describe any material that is archivally "good", but it does not, for example, differentiate between paper with an alkaline reserve (p. 15) and that which is pH neutral (p. 59). Should a family genealogist come to me as a trained conservator and ask if he should use "pH-balanced" paper to house his negatives, I could only respond with a blank look on my face. Tuttle misses the important opportunity in this and other cases to give his readers the adequate vocabulary to communicate on an appropriate level with professional conservators.

   On a positive note, the author has kept the chapter on repair and cleaning very basic (p. 63). The techniques he describes are among those that are considered standard preservation measures in the contemporary understanding of minimal intervention. Any complex treatment, Tuttle stresses, should only be carried out by a professional conservator. This makes it clear that many treatments can easily lead to greater damage if carried out lightheartedly. The inclusion of a description of the ethics and complexities of the work of a conservator as well as definitions of basic terminology might have been beneficial, however, as self-help books will often give the reader the impression that a do-it-yourself approach will always work.

   The absolute condemnation of the lamination of documents (pp. 45-46) brings up the concept of reversibility, which is fundamental (even if impossible to comply with) for the understanding and application of conservation treatments. Although the book does cover many sources of deterioration and gives hints on housing documents, the most important advice is missing: how to actually handle your papers and prints. The ground rules should be clearly stated at the beginning of the chapter on storage and care (p. 55): maintain a clean workspace, refrain from smoking, eating and drinking in the presence of important documents, and simply wash your hands before handling them. Humans, after all, are the greatest source of danger to documents.

   Despite the many small inaccuracies, omissions, and simply false statements, such as the definition of relative humidity in the glossary (p. 93), distributed throughout the book, An Ounce of Preservation does install in the reader a sense of appreciation for those old papers and faded photographs in the basement. This is an important achievement in itself. Apparently, an expanded second edition of this book is in preparation. One must hope that, prior to publication, Craig Tuttle will submit his manuscript to a paper conservator and photo historian for review, so that his book can advance from being 'recommendable with reservations and in view of the lack of alternatives' to 'wholly recommendable' from the conservator's point of view.




3. With no background in caring for old photos and papers, I was in a quandry over what to do with the box full of items left to me by my deceased uncle. I didn't have the money for a professional to refresh and repair the photos, many of which suffered from long years of neglect. So I went online in search of a publication that would tell me where to start. An Ounce of Preservation provided me, a true archival dummie, with the groundwork I needed to begin the restoration project. As I sent off for information from companies listed in the appendix of the book, I learned more and more, unti I now feel like a blooming expert! I have a great scrapbook of my uncle's photos that I can pass on to my grandchildren, and it's a scrapbook that takes care of the items instead of aiding in their destruction. Without all the easy-to-follow techniques and many, many leads for more information provided in the book, I doubt if I would have ever had the courage to tackle the job myself. And since I didn't have the money for professional help, all those precious items of family history would still be deteriorating away in my closet. I contacted the publisher (to find out how to contact the author) only to learn that a greatly expanded second edition of this book is in the works. I highly recommend this book to anyone who wants to learn the basics -- it was all news to me!



4. "An Ounce of Preservation" is more aptly described as a pamphlet which delivers only the most BASIC information that most people nowadays regard as common knowledge. The reader looking for practical help, such as what solution to use to clean a smudged photo from the twenties, will find very little to go by (no more than a three-sentence paragraph for the cleaning of old photos). This thin book might have been more successful if the author had limited his scope and treated his subject in more detail. As it is, it's a lot to pay for text that can be read in less than an hour.



5. To learn more about old photographs and their care, I ordered three books; An Ounce of Preservation by Craig Tuttle, Collector's Guide to Early Photographs by O. Henry Mace, and Care and Identification of 19th Century Photographic Prints by James Reilly.

   An Ounce of Preservation, A Guide to the Care of Papers and Photographs, is a small, almost pocket size book that can be read quickly. It has a good description of all the major types / categories of photographs (Daguerreotypes, Tintypes, Albumen, etc.) that have been produced since the birth of photography. It helps identify the specific type of damage likely to be found, and then provides advice to both reduce further deterioration and to treat the damage.

   Unlike the other books, An Ounce of Preservation provides a background on the paper manufacturing process, which is helpful for understanding the base structure of an old photograph. Also unlike the other books, it also addresses the care of various other types of paper documents (manuscripts, postage stamps, trading cards, postcards, comic books, magazines, etc.)

   This is a great book for gaining a basic understanding of the types / categories of old photographs in existence and easy-to-implement procedures for reducing their deterioration. Anyone who cares about maintaining old family records or local historical records would find this book very useful. If a detailed knowledge is desired regarding either the types of old photographs or the proper care for old paper based photographs, then one of the other two books I purchased would be better. However, the other two books are not as concise, and you would need to purchase both of them to learn about both the types of photographs and their care.

1 comments about Devilish Greetings: Krampus Vintage Devil Postcards.

1. Book Review by Susan Brown Nicholson
   
   
   Beauchamp, Monte. Devilish Greetings, 2007, 160p, 160 color ill, ISBN 978-1-56097-871-8: Grath & Thompson, Fantographic Books, WA. To order: Fantagraphics Books, 7563 Lake City Way NE, Seattle, WA 98115, 1-800-657-1100.
   
   Once again Graphic designer Monte Beauchamp has produced a delightful book on a devilish subject, vintage devil postcards. The illustrations are outlandishly delightful with examples of metamorphic, novelty, and outstanding publishers like Osnabrucker Papierwaaren Fabrik (OPF), and more.
   
   Devilish Greetings is a fiery, full-color survey of spooky, kooky and delightfully demented devil postcards from days gone by. It is a fun filled page turner, a must have for anyone interested in the visual arts, pop culture, and the glory days of the penny postcard.
   
   The Devil made me do it, is a well known phrase. At the turn of the last century, postcard artists delighted at producing comic art to portray this mythical creature. While as Beauchamp points out, the Devil seems to have appeared in every form of mass-marketed printed matter, no where is he more prevalent than on the picture post card.
   
   The Earliest examples are European, but went on to promote the haunting holidays of Halloween, and to celebrate the sinful and saucy side of life. This book features some of the most fantastic images of this horned creature whether he is in red, blue or black. He frolics in flight with wings and tosses his long tail as a form of expression. Don't miss the colorful antics of this creature featured on the pages of this delightful book.
   
   The design of the book itself makes you want to jump into the fray and start collecting this image. The examples illustrated are outstanding with a nice smattering of the Krampus through the pages. Don't miss this as a devilish gift for someone on your list.

No comments about Tea Art: A Modern Look at Vintage Tea Graphics.

5 comments about Love Letters, Lost.

1. I love this book because it capture real emotions. These are not stories, these are letters written to a loved one. In our modern societies of "make believe" and communication this book is eternally fresh.



2. The beauty of this book, beyond the romantic nostalgia inspired by vintage photographs and handwritten letters, is that it is a collection created from discarded or "lost" memorabilia. The images and letters were once, we can reasonably believe, very important to the anonymous beholder before they were set adrift in estate sales, flea markets, and junk stores. The author performs a service of social research and cultural reclamation by taking these things in, preserving them, and creating an outlet for them to be rediscovered by other people. I highly recommend this book for anyone at all interested in being part of that process or anyone who is moved by the sentimentality of others.



3. So I received this book as a gift, and so I can't hate it too much. I did not know that I could collect a bunch of nostalgia, throw it all in a messy anthology with some random pictures of old couples and make some money. Maybe I should try it. I wouldn't consider these 'love letters' per say, because most of them are just from ordinary people chronicling their mundane lives to someone who will listen. When you buy this book you turn into that someone.
   
   Lesson is that nothing's changed over the years. There's no magic in this collection, just a bunch of hodge podge. Cute though. Some are a bit witty, some whiny, most just plain BORING. A sweet little novelty, nothing great.



4. I like looking at old pictures and old letters, but I thought when I bought the book that I would actually be looking in the history of someone's life with pictures to go with it but that was not the case. It is just a random bunch of pictures and a random bunch of letters put together in a book. The pictures aren't necessarily the pictures of the people who wrote the letters, so you know nothing of the authors, no explanation of the times they lived in or the place they lived in or anything. In other words, no story behind it whatsoever. Just a disappointing collection.



5. Another beautiful contribution by this author. Love letters to make you weep, smile, laugh and imagine . . . or remember . . . how it feels to love and be loved.

3 comments about Antique Trader Vintage Magazines Price Guide.

1. I've been interested in old magazines for a few years now, and have been looking for a helpful price guide. I just bought this, and I highly recommend it. There's a lot of information, not just about the magazines most of us are familiar with, but also about many lesser knonwn older magazines that have great value due to authors who published their early work in them--e.g. Edgar Allen Poe. It's not just helpful information as a price guide, it's very interesting reading! Lots of great color photos also. I looked through another magazine price guide in a bookstore, and this one is much, much better.



2. I picked up this book to learn more about vintage ads and magazines I was interested in. I was pleasantly surprised that not only was the book a complete guide to magazines but had great analgoies and stories the "editors" wrote within.
   Great information on a subject that seems to be little explored.



3. When we moved into our 1920's home,we found boxes left in the attic filled with old fashion magazines. My husband was ready to trash the lot, but being of the pack rat variety I found a home for them in my office.
   
   With the help of The Antique Trader Vintage Magazines Price Guide the door was opened for me to the world of old magazines. The beautiful color photos helped me to easily identify my boxes of "trash" and give them a value.
   
   Most important, the love affair the authors have for magazines comes across in their historical entries. The unique way they organize collectible magazine people into Sleepers like OZ artist W.W. Denslow or Stars like F.Scott Fitzgerald makes me want to haunt local yard sales. My major problem with the book was that I became so fascinated that I wanted more. The book could easily have been double in size and information and kept my interest as both a reader and for use as a desk reference. With what I've learned, our next home will hopefully be an 1890's Victorian with a basement full of Godey's Lady's Book magazines.

2 comments about Time for Halloween Decorations (Schiffer Book for Collectors).

1. Time For Halloween Decorations, is atrocious. Lavin's first book added modestly to the canon of vintage Halloween memorabilia knowledge, but the same cannot be said for this pitiable effort. This book is almost wholly without merit and except for completists is not worth owning. I am troubled by "authors" wanting to push such undercooked products on the marketplace when the number of publishing slots for our fun hobby is necessarily limited. When these forgettable efforts sell poorly, it makes it that much harder for those of us with something truly worthwhile to add to have our expertise heard in the marketplace. So, why am I so down on this book? There are many reasons. The cover imagery is not representative of the contents. The 1923 Beistle fairy clock would lead one to think the thrust of the book would be Beistle products from the same era. In fact, the vast majority of the book consists of items made long after this golden age of imagery. Lavin dilutes the integrity and cohesiveness of the book by arbitrarily throwing in 17 pages of items made by other manufacturers - all but one of which have been shown in other references and therefore add essentially nothing to the base of existing knowledge. Another significant defect of this book is the photography. Too many of the photos are underexposed. For instance, photos on pages 10,13,16,18-19,20-21,26,28-30, 32,35,52,62-65,68,119,120,124-125,142 and145 are often so dark one cannot make out important detail. Another significant defect is the hurried nature of the book. Two key examples of this rush to publication are images shown with the negatives reversed. On page 93 Lavin shows the same Halloween elf (upper right) that she showed on page 60 of her 2004 book. If you look carefully you'll see that she used precisely the same image but carelessly flipped the negative for the second book. (The image shown in her 2004 book is correct.) Another example is the lantern shown on page 141. If you look carefully at both the lantern and the needless photo of the insert on this page, both negatives have been flipped. (Compare them to the way the lantern actually looks as shown on page 144 of Lavin's 2004 effort. Look at the teeth and the detail of the witches' hats and the running JOL creatures' top stems.) My main objection to Lavin's second book is the number of items duplicated from her 2004 book. There seems to be more fillers and extenders in this new book than there are in any hotdog. For instance, pages 79 through 81 are essentially a rehash of pages 72 and 73 from 2004. Page 93 is a rehash of page 90 from 2004. Page 140 is a rehash of page 87 from 2004. Pages 130 through 134 are a rehash of page 141 from 2004. Page 141 is a rehash of page 144 from 2004. The lower half of 2007's page 152 is nearly identical to page 160 of this same book. Even aside from these duplications, Lavin didn't seem to have enough material to truly justify having this book published. She shows mind-numbing iterations of the same thing on too-many pages, (see pages 23-25, 35, 37, 53, 67,70,77,132-133,138-139,150 and 151for examples) or too often simply allows one item to fill an entire page. Unfortunately, Lavin devotes many of the 160 pages of this book to items that have only the remotest connection to Halloween. The "South Pacific Mask Hats" shown on pages 122-123 are puzzlers, as are the masks show on pages 105 through 111. Another downfall is the space Lavin devotes to showing items that have been shown in other works ad nauseum ad infinitum. Pages 45 through 47, 79 through 81 and 99 through 103 are a particular waste. Lastly, I have no confidence in the valuation she places on most of the items shown in this sad effort. The valuations seem arbitrary. They are certainly significantly inconsistent with the prices realized at on-line auctions, general shows and antiques malls. In summary, this book falls well below what an informed consumer and collector should expect from a collecting reference. Those who wish so avidly to see their name in print should put the requisite effort into their product so as to make it actually useful and desirable.



2. I'm no hoity-toity Ivy League professor of Halloween literature or professional 'New York Times' book reviewer with a bloody Halloween ax to grind, but I am confident when I state that "Time for Halloween Decorations" would make an excellent addition to the Halloween shelf of anyone's holiday bookcase. No room on that bulging shelf? Throw out some of those dusty volumes of Satanic ritual and inky black magic. Don't have a holiday bookcase? Shame on you! IKEA has many inexpensive bookcases and shelving units that would suffice. Do yourself a favor and start your holiday bookcase today! You won't regret it. Ever. I give you my solemn oath.

1 comments about Encyclopedia of Collectible Children's Books: Identification and Values.

1. This outstanding reference has a range of material and specificity of information on particular books and authors to be of use to collectors at all levels. Even though somewhat specialized, the area of children's books is of interest to large numbers of collectors and dealers, even ones not particularly interested in books. Children's books can be used for gifts for children or adults; in many cases, they are sought after mainly for their illustrations; children's books reflect social history in shedding light on education, domestic life, and raising of children. Some children's books--especially prized ones--are illustrated by major illustrators or artists.
   
   The format is not strictly that of an "encyclopedia" with the conventional, straightforward alphabetical entries. Unexpected, yet plainly relevant and useful sections are succinct publishers' histories, a listing of Newbery and Caldecott Winners from their beginnings in 1922 and 1938 respectively thru 2008, a glossary, and a bibliography. A listing of childen's books by author of about 160 pages with hundreds of illustrations of book covers and another section of about 150 pages also with hundreds of illustrations are the encyclopedia-like sections.
   
   More so than with most categories of collectible books, with children's books, publishers can be a sign of age and value. Books by McLoughlin Brothers, for instance, are usually from the 1800s and are desirable for their handcoloring or chromolithography. Scribner's is well known for its especially desirable series of classics illustrated by notable illustrators such as N. C. Wyeth. Many of Mark Twain's books and books by Jules Verne and Alfred Hitchcock and other authors who are not automatically regarded as children's authors are included--one example of the information and guidance in the range of coverage.
   
   As for a sampling of the reference's depth, the Oz Series by Frank Baum is laid out over four pages. As with many classic children's books, including Mother Goose rhymes and A. A. Milne's Winnie-the-Pooh books, popular children's books have gone on from their first publication to many subsequent reprintings over decades. The treatment of the Oz series helps readers distinguish between first and early printings that can be worth thousands of dollars and later reprintings having little monetary value.
   
   All in all, this is a exceptional, knowledgeable, reliable reference on the perennially popular field of collectible children's books, one of the major categories of book collecting.

1 comments about Collectible Playing Cards (Collectibles).

1. I'm a prop master for a local college here and this book is wonderful at helping me to re-create proper period playing cards for any and all stage and film productions.