Collecting and Restoration
Contents
Contents
- Introduction to restoration
- A typical restoration
- Household gelatine as woodworking hide glue
- Make a display copy of a Number 6 dry cell
- Definitions of collectors' terms
- Valuing your collectables
- Storing and displaying antiques and collectables
- Why do we collect
- Repair Bakelite
- History of plastics in telephony
Introduction to restoration
I find restoring old/degraded telephones to be an enjoyable and somewhat therapeutic activity. The following articles provide an introduction to some of the restoration processes you will come across.
Some techniques
I wish to thank and acknowledge Mr R. Freshwater for his excellent website www.britishtelephones.com/.
This page discusses a range of restoration techniques:
http://www.britishtelephones.com/restore1.htm
Bakelite
This page covers cleaning and polishing of bakelite telephone cases:
I have one reservation regarding the advice offered on cleaning Bakelite by soaking overnight in water and detergent. If the surface is compromised (e.g. rough, pitted or discoloured) it is possible water can soak through into the underlying filler, expand it and further damage the case.
http://www.britishtelephones.com/bakelit1.htm
Arwin has some advice on repairing broken Bakelite. Always practice on low value items first! Go to:
http://www.matilo.eu/restauratie/hoe-repareer-ik-bakeliet-waar-een-chip-uit-is/?lang=en
ABS plastic (added 22 Sep 2019)
Acrylonitrile Butadiene Styrene (ABS) is modern (mid 20th c.), usually opaque, thermoplastic. ABS first appeared in Australian telephones in the early 1960s with the introduction of 800 series 'phones and its use has continued into the 21st c, particularly in the cases of the larger, plastic, corded and cordless telephones.
Early ABS telephones are becoming collectors items.
One issue with ABS is degradation and discolouring of the plastic's surface following long term exposure to direct sunlight, usually developing an unattractive brown hue. In the past, the only solution was aggressive sanding and re-polishing to remove the degraded surface but in recent years new methods have been developed. One is the "Retrobrite" process http://www.retr0bright.com/
To quote Sam Hallas (http://www.samhallas.co.uk/collection/retr0bright.htm) "in summary, a group of vintage computer enthusiasts have developed a means of reversing the fading in ABS plastic caused by exposure to daylight. They state that the cause is a reaction of the the bromine-based flame retardant. The technique uses a commonly available domestic oxygen bleach powder to catalyse a reaction with hydrogen peroxide under the influence of ultra-violet light. The active ingredient in the bleach is a substance called TAED, (tetra acetyl ethylene diamine)."
Further review by Sam came up with a variation of retr0brite:"Anthony Pleticos has written from Sydney, Australia, to say that he has found an alternative means of bleaching plastic cases using hair salon crème developer. It's normally used in conjunction with hair dye to re-colour hair. He used the 20-volume (6%) version. The listed ingredients are: Deionized water, Hydrogen Peroxide, Cetearyl Alcohol, Sodium Lauryl Sulphate, Phosphoric Acid, Ethanol, Methylparaben. I need hardly add that with those ingredients you should wear old clothes, hand protection and optionally safety glasses when using this stuff. Anthony says he smeared it generously over the plastic and left the item in sunshine for several hours, repeating as necessary. He has had success with grey, ivory and mustard yellow telephone cases. Anthony has added, "I have also successfully applied hair crème containing hydrogen peroxide to reduce discolouration in Bakelite/Catalin as well as ABS plastics. Assuming safety precautions were taken, I applied the hair crème on an ivory Bakelite/catalin BT20/4 terminal box. In conclusion, discolouration can be significantly reduced in Bakelite/Catalin as well as ABS."
Yet another method: From "Andy's Shed" series https://www.youtube.com/watch?v=0RCxChcycd4
This method uses acetone solutions on a rag to dissolve and then rub away the degraded ABS surface. It is followed up with an abrasive automotive polish. in effect, a slightly less brutal version of surface sanding mentioned above. I experimented with the process and found (for me anyway) that initial application of pure acetone was too aggressive and difficult to control but when I diluted the acetone with methylated spirits (25% metho) it slowed down the evaporation of the solution and was easier to get a good result, albeit it took a little longer than shown in Andy's video.
ABS glue
As learnt above, acetone dissolves ABS plastic. This allows it to be used as an effective ABS glue. I've had success re-gluing broken telephone cases by liberally applying acetone with a cotton bud or similar to both edges and then pushing and holding them together until set. The trick is to leave the joint alone (at least overnight) to allow it to harden properly. Later, any raised glue lines can be sanded out and re-polished to give an unobtrusive result.
In addition, a "slurry" of ABS glue/filler can be made with scraps of ABS dissolved in acetone in a sealed (glass) jar. It takes a while to dissolve fully but will remain liquid if kept sealed and occasionally refreshed with acetone. Paint the slurry over the inside of a repaired surface to build up a strengthening layer. Similarly, it can be used as a filler. Since the acetone dissolves ABS, the glue bond is ultimately quite strong.
A common source of ABS scraps is Lego blocks. Make sure they are fairly modern ones (1970s on?). The very early 1960s Lego were made from a cellulose based plastic.
I find restoring old/degraded telephones to be an enjoyable and somewhat therapeutic activity. The following articles provide an introduction to some of the restoration processes you will come across.
Some techniques
I wish to thank and acknowledge Mr R. Freshwater for his excellent website www.britishtelephones.com/.
This page discusses a range of restoration techniques:
http://www.britishtelephones.com/restore1.htm
Bakelite
This page covers cleaning and polishing of bakelite telephone cases:
I have one reservation regarding the advice offered on cleaning Bakelite by soaking overnight in water and detergent. If the surface is compromised (e.g. rough, pitted or discoloured) it is possible water can soak through into the underlying filler, expand it and further damage the case.
http://www.britishtelephones.com/bakelit1.htm
Arwin has some advice on repairing broken Bakelite. Always practice on low value items first! Go to:
http://www.matilo.eu/restauratie/hoe-repareer-ik-bakeliet-waar-een-chip-uit-is/?lang=en
ABS plastic (added 22 Sep 2019)
Acrylonitrile Butadiene Styrene (ABS) is modern (mid 20th c.), usually opaque, thermoplastic. ABS first appeared in Australian telephones in the early 1960s with the introduction of 800 series 'phones and its use has continued into the 21st c, particularly in the cases of the larger, plastic, corded and cordless telephones.
Early ABS telephones are becoming collectors items.
One issue with ABS is degradation and discolouring of the plastic's surface following long term exposure to direct sunlight, usually developing an unattractive brown hue. In the past, the only solution was aggressive sanding and re-polishing to remove the degraded surface but in recent years new methods have been developed. One is the "Retrobrite" process http://www.retr0bright.com/
To quote Sam Hallas (http://www.samhallas.co.uk/collection/retr0bright.htm) "in summary, a group of vintage computer enthusiasts have developed a means of reversing the fading in ABS plastic caused by exposure to daylight. They state that the cause is a reaction of the the bromine-based flame retardant. The technique uses a commonly available domestic oxygen bleach powder to catalyse a reaction with hydrogen peroxide under the influence of ultra-violet light. The active ingredient in the bleach is a substance called TAED, (tetra acetyl ethylene diamine)."
Further review by Sam came up with a variation of retr0brite:"Anthony Pleticos has written from Sydney, Australia, to say that he has found an alternative means of bleaching plastic cases using hair salon crème developer. It's normally used in conjunction with hair dye to re-colour hair. He used the 20-volume (6%) version. The listed ingredients are: Deionized water, Hydrogen Peroxide, Cetearyl Alcohol, Sodium Lauryl Sulphate, Phosphoric Acid, Ethanol, Methylparaben. I need hardly add that with those ingredients you should wear old clothes, hand protection and optionally safety glasses when using this stuff. Anthony says he smeared it generously over the plastic and left the item in sunshine for several hours, repeating as necessary. He has had success with grey, ivory and mustard yellow telephone cases. Anthony has added, "I have also successfully applied hair crème containing hydrogen peroxide to reduce discolouration in Bakelite/Catalin as well as ABS plastics. Assuming safety precautions were taken, I applied the hair crème on an ivory Bakelite/catalin BT20/4 terminal box. In conclusion, discolouration can be significantly reduced in Bakelite/Catalin as well as ABS."
Yet another method: From "Andy's Shed" series https://www.youtube.com/watch?v=0RCxChcycd4
This method uses acetone solutions on a rag to dissolve and then rub away the degraded ABS surface. It is followed up with an abrasive automotive polish. in effect, a slightly less brutal version of surface sanding mentioned above. I experimented with the process and found (for me anyway) that initial application of pure acetone was too aggressive and difficult to control but when I diluted the acetone with methylated spirits (25% metho) it slowed down the evaporation of the solution and was easier to get a good result, albeit it took a little longer than shown in Andy's video.
ABS glue
As learnt above, acetone dissolves ABS plastic. This allows it to be used as an effective ABS glue. I've had success re-gluing broken telephone cases by liberally applying acetone with a cotton bud or similar to both edges and then pushing and holding them together until set. The trick is to leave the joint alone (at least overnight) to allow it to harden properly. Later, any raised glue lines can be sanded out and re-polished to give an unobtrusive result.
In addition, a "slurry" of ABS glue/filler can be made with scraps of ABS dissolved in acetone in a sealed (glass) jar. It takes a while to dissolve fully but will remain liquid if kept sealed and occasionally refreshed with acetone. Paint the slurry over the inside of a repaired surface to build up a strengthening layer. Similarly, it can be used as a filler. Since the acetone dissolves ABS, the glue bond is ultimately quite strong.
A common source of ABS scraps is Lego blocks. Make sure they are fairly modern ones (1970s on?). The very early 1960s Lego were made from a cellulose based plastic.
A typical restoration (added 9 Feb. 2015)
The following images are of a timber phone restoration I undertook for "Woodloes", a local community museum, in late 2014. The phone was originally a 1920s "British Ericsson" that had some non-standard modifications done to it, probably around WW2. The original transmitter and receiver were replaced with a Bakelite 164 handpiece and the transmitter holes covered with a plate. It doesn't look like a PMG refurbishment which lends support to the museum's belief that it was either a local Railways or a privately owned telephone. The woodwork was cracked, the note tray was missing, the handset was grimy and paint splattered and the whole unit had suffered an ignominious coat of mission brown paint.
Note: I've had a surprising number of enquiries about removing the crank handle from these and earlier Ericsson phones (the front cannot be opened until it is removed). The handle is simply threaded onto the generator shaft. Normal clockwise operation retains the handle's tightness on the shaft. To remove, rapidly rotate the handle anti-clockwise. If it is not corroded it should come off easily. If it's a bit stiff, drizzle a little WD40 or similar penetrant into the thread and wait a while, Another trick to "brake" the generator is to apply a short circuit across the line terminals, if accessible.
The following images are of a timber phone restoration I undertook for "Woodloes", a local community museum, in late 2014. The phone was originally a 1920s "British Ericsson" that had some non-standard modifications done to it, probably around WW2. The original transmitter and receiver were replaced with a Bakelite 164 handpiece and the transmitter holes covered with a plate. It doesn't look like a PMG refurbishment which lends support to the museum's belief that it was either a local Railways or a privately owned telephone. The woodwork was cracked, the note tray was missing, the handset was grimy and paint splattered and the whole unit had suffered an ignominious coat of mission brown paint.
Note: I've had a surprising number of enquiries about removing the crank handle from these and earlier Ericsson phones (the front cannot be opened until it is removed). The handle is simply threaded onto the generator shaft. Normal clockwise operation retains the handle's tightness on the shaft. To remove, rapidly rotate the handle anti-clockwise. If it is not corroded it should come off easily. If it's a bit stiff, drizzle a little WD40 or similar penetrant into the thread and wait a while, Another trick to "brake" the generator is to apply a short circuit across the line terminals, if accessible.
The process was as follows:
- A series of photographs were taken before starting as memory aids and to enable a before/after record.
- All external parts were removed and carefully stored.
- The mission brown paint proved difficult to remove by gentler means so was ultimately removed with paint stripper and then the case thoroughly wiped down with damp rags to remove any traces of the stripper.
- The case was then wiped down with methylated spirits to even out/remove the original shellac coating that remained in places.
- Cracks were patched with wood filler and colour matched and the whole case very lightly sanded with the aim of preserving as much of the original timber surface as possible.
- The case was given several coats of brushed shellac with a very light sanding between coats. This used the same mixture as French polish, but as the original units were probably brushed or sprayed, rather than polished, I tried to keep it as authentic as possible.
- A replacement writing shelf was purchased from an enthusiast in New Zealand who made excellent replica parts.
- The shelf was stained with spirit stain to (reasonably closely) match the original timber and then shellacked like the case. It was then fitted using slotted wood screws. Remember, the ubiquitous Phillips Head screw wasn't invented until the mid-1930s and didn't commonly appear in telephones until the 1970s. Purists don't like Phillips Head screws much!
- The handset was next. Bakelite parts were washed down with 0000 grade steel wool soaked in methylated spirit. This removed the grime and paint splatter with minimal effect on the surface. The handset was given a quick hand buff with "Greygate polishing paste No. 5", restoring the surface nicely.
- Bell gongs etc. were painted with a spraycan of satin (not matt) finish black. This finish closely matches the original appearance of the parts.
- Finally assembled, the phone was delivered to the museum and was on display as a bit of local history when it re-opened for the new season in 2015.
Another one (added Dec 2019)
Below is another restoration on a similar telephone I completed in 2018. Most of the processes were similar to the above so I've only discussed different issues with this one. One difference was that this unit was all original - not modified like the previous one. This particular phone was used on a rural property in the Collie area of WA. I purchased it from a descendent of the original owner. It had spent the previous 50-60 years under the house and was in a very degraded state. Mostly complete, the only major part missing was the receiver, although various other parts (transmitter etc.) were disconnected and supplied loose.
Finally assembled, the phone is now part of the collection. It looks very much like it would have done when in service, not pristine but a complete and functional unit. The following images, L-R: As received, the warped shelf and final product.
Below is another restoration on a similar telephone I completed in 2018. Most of the processes were similar to the above so I've only discussed different issues with this one. One difference was that this unit was all original - not modified like the previous one. This particular phone was used on a rural property in the Collie area of WA. I purchased it from a descendent of the original owner. It had spent the previous 50-60 years under the house and was in a very degraded state. Mostly complete, the only major part missing was the receiver, although various other parts (transmitter etc.) were disconnected and supplied loose.
- This one hadn't been over-painted. After dismantling, the bare case and shelf parts were then vigorously scrubbed down with methylated spirits and a scourer sponge. Luckily the finish was the original, shellac, which is soluble in alcohol. The meths dissolved the badly degraded varnish and the sponge and scourer removed it and cleaned the surface at the same time. The benefit of this method was that the original timber surface was not altered too much, retaining evidence of its history.
- The writing shelf was problematic as it had warped badly in its time under the house. I experimented with some ideas gleaned from the internet. What worked was soaking only the concave side of the shelf in water. This was done by leaving it to soak overnight in about one cm of water in a flat tray. The logic is to re-hydrate, swell and soften the shrunken timber cells on the side of the warp only. The shelf was then clamped between flat timbers. Over several iterations it flattened satisfactorily. When reassembled and glued it retained its new shape.
- Pale linseed oil, diluted 50:50 with mineral turpentine, was worked into all timber surfaces with 0000 steel wool. The idea here was to re-hydrate the surfaces and close up micro-cracking in the timber. Combined with the following shellacking the surface returned to a reasonable appearance.
- As previously. the timber surfaces received a number of coats of brushed shellac with a very light sanding between coats.
- Luckily I had a replacement receiver and cord in the junk box. Junk boxes are an essential part of the restorer’s workshop. Unfortunately the receiver had been stripped back to bare brass at some time in its life. I repainted it black to simulate original appearance.
- The transmitter was next. The Bakelite was dry, grey and rough through exposure. After disassembly, enthusiastic polishing with WD40 and fine 0000 steel wool restored it to almost original appearance.
- Bell gongs, receiver and the transmitter's metal base were then painted with a spray-can of satin finish black. The other metal parts were cleaned and left their original blackened brass.
Finally assembled, the phone is now part of the collection. It looks very much like it would have done when in service, not pristine but a complete and functional unit. The following images, L-R: As received, the warped shelf and final product.
Household gelatine as woodworking hide glue
The inspiration for this activity was an article by the US based luthier, Frank Ford published on his webpage:
http://www.frets.com/FretsPages/Luthier/TipsTricks/KitchenGlue/kitchenglue.html
I needed to reglue the wooden parts of some old phones that came to me in rather decrepit condition hence the research and this story. I did not want to use modern PVA or other synthetic glues for a couple of reasons; the first was a wish to retain some level of originality in the pieces but, more importantly, most synthetic glues are not reversible. This means once a joint is made, the only way to undo it is to destroy the joining surfaces – not ideal if you made a mistake or if future restorers need to remake the joint.
Until the mid 20th century the wood glue of choice was hide glue. In my understanding, hide glue is mostly collagen extracted from animal parts such as skin, bones, hooves etc (remember the crude jokes about slow racehorses and the glue factory – they weren’t jokes). Usually sold in dried, granular form (looks a bit like brown sugar), when mixed with cold water it forms a gel and when this gel is heated it becomes liquid and very effective glue. Hide glue comes in various “gel strengths”. The lower the number the weaker the joint but also the greater the working time. A higher number implies a stronger bond but reduced working time.
Household, edible gelatine is essentially a refined version of hide glue and is ideally suitable for small jobs that require high strength joints.
I use unflavoured gelatine from the local supermarket. Make sure this is animal gelatine, not the vegetarians’ version which is made from seaweed! Read the label and it should say it is made from beef hide. I haven’t tried different gelatines made from bones, pork skin etc. but they should work in much the same way. The packet usually contains a number of sealed sachets. One sachet will generally do several small gluing jobs so a packet will last the occasional restorer like me for ages.
Edible gelatine has higher gel strength and faster set time than commercial hide glue. This means it is important to work quickly so that the glue is still liquid when you make a joint. The upside is that it makes a strong joint.
Although a clamped joint may be a little stronger, because this glue works quickly, a joint can simply be pressed together and rubbed gently until it “grabs”, then left to dry. The joint will be stable within minutes but it gains maximum strength over a day or so.
Another advantage of using this type of glue is that it dissolves and bonds with old hide glue so when cleaning out old joints you don’t have to be too fussy about stripping joint surfaces back to clean timber, thus minimising damage to the joint surfaces.
Joints can be undone by heat. I’ve found that rinsing the joint with boiling water for a short time works but you may like to experiment with a heat gun or other heat sources (take care with gas torches though, I set one practice piece alight!)
Be mindful that gelatine/hide glue is an organic material so it will deteriorate if exposed to damp and mould. Given it is generally used to glue other organic materials such as wood or paper this problem shouldn't arise if the articles are correctly stored. Also, I think the glue will be weakened if the items are stored in a very hot environment e.g. in an attic or in prolonged, direct summer sunlight. In many parts of Australia, roof space temperatures can reach 70 degrees C and summer air temperatures (in the shade!) commonly exceed 40 degrees C so I suspect high temperature was the reason the joints had separated on the phones that started me off on this in the first place.
The Process
1. I strongly recommend you practice on wood scraps before you launch into a major repair! Experiment with different gelatine to water ratios and determine gel time, drying time, joint strength and methods for undoing joints.
2. You don’t need much gelatine to do the few small joints found in a typical wooden phone. Start with a teaspoon of dry gelatine and see how far it goes.
3. Mix the dry gelatine with water in a small container. I’ve found a ratio of about 1:2 (one gelatine to two water) by volume works ok. The ratio doesn’t have to be exact.
4. Stir it with a small stick and very soon the water is absorbed and the mixture “gels”.
5. Float the container in hot water at around 70-80 degrees C (160-180 degrees F) and soon you have hot, clear, liquid hide glue. There are various warming pots you can get to maintain the temperature but for small jobs I simply fill an insulated drinking mug with boiling water before preparing the mixture. By the time I’m ready it has cooled enough to use. Popping on the lid between applications will keep the heat in for quite a while and the hot water can be topped up as required.
6. Simply brush it on. It works just like typical woodworkers hide glue. Remember, it has high gel strength and you will need to work quickly before it gels.
7. Wipe off excess straight away with a hot moist rag. Clean up brushes etc. with very hot water.
8. The glue can be left to cool, reheated and reused several times. When it cools it looks just like edible jelly (which it is!). Keep the mixture in the fridge to preserve it and throw it out if there are any signs of mould or deterioration.
9. Don’t be frightened to experiment. It is an interesting material with a wide range of uses. For example it also bonds very well to paper, leather and glass but don’t apply it to glass items that will be washed in hot water! Also a diluted, cold mixture can be used as a label adhesive.
There are numerous articles on the internet about hide glue, for example I gleaned some extra ideas from:
https://en.wikipedia.org/wiki/Animal_glue
The inspiration for this activity was an article by the US based luthier, Frank Ford published on his webpage:
http://www.frets.com/FretsPages/Luthier/TipsTricks/KitchenGlue/kitchenglue.html
I needed to reglue the wooden parts of some old phones that came to me in rather decrepit condition hence the research and this story. I did not want to use modern PVA or other synthetic glues for a couple of reasons; the first was a wish to retain some level of originality in the pieces but, more importantly, most synthetic glues are not reversible. This means once a joint is made, the only way to undo it is to destroy the joining surfaces – not ideal if you made a mistake or if future restorers need to remake the joint.
Until the mid 20th century the wood glue of choice was hide glue. In my understanding, hide glue is mostly collagen extracted from animal parts such as skin, bones, hooves etc (remember the crude jokes about slow racehorses and the glue factory – they weren’t jokes). Usually sold in dried, granular form (looks a bit like brown sugar), when mixed with cold water it forms a gel and when this gel is heated it becomes liquid and very effective glue. Hide glue comes in various “gel strengths”. The lower the number the weaker the joint but also the greater the working time. A higher number implies a stronger bond but reduced working time.
Household, edible gelatine is essentially a refined version of hide glue and is ideally suitable for small jobs that require high strength joints.
I use unflavoured gelatine from the local supermarket. Make sure this is animal gelatine, not the vegetarians’ version which is made from seaweed! Read the label and it should say it is made from beef hide. I haven’t tried different gelatines made from bones, pork skin etc. but they should work in much the same way. The packet usually contains a number of sealed sachets. One sachet will generally do several small gluing jobs so a packet will last the occasional restorer like me for ages.
Edible gelatine has higher gel strength and faster set time than commercial hide glue. This means it is important to work quickly so that the glue is still liquid when you make a joint. The upside is that it makes a strong joint.
Although a clamped joint may be a little stronger, because this glue works quickly, a joint can simply be pressed together and rubbed gently until it “grabs”, then left to dry. The joint will be stable within minutes but it gains maximum strength over a day or so.
Another advantage of using this type of glue is that it dissolves and bonds with old hide glue so when cleaning out old joints you don’t have to be too fussy about stripping joint surfaces back to clean timber, thus minimising damage to the joint surfaces.
Joints can be undone by heat. I’ve found that rinsing the joint with boiling water for a short time works but you may like to experiment with a heat gun or other heat sources (take care with gas torches though, I set one practice piece alight!)
Be mindful that gelatine/hide glue is an organic material so it will deteriorate if exposed to damp and mould. Given it is generally used to glue other organic materials such as wood or paper this problem shouldn't arise if the articles are correctly stored. Also, I think the glue will be weakened if the items are stored in a very hot environment e.g. in an attic or in prolonged, direct summer sunlight. In many parts of Australia, roof space temperatures can reach 70 degrees C and summer air temperatures (in the shade!) commonly exceed 40 degrees C so I suspect high temperature was the reason the joints had separated on the phones that started me off on this in the first place.
The Process
1. I strongly recommend you practice on wood scraps before you launch into a major repair! Experiment with different gelatine to water ratios and determine gel time, drying time, joint strength and methods for undoing joints.
2. You don’t need much gelatine to do the few small joints found in a typical wooden phone. Start with a teaspoon of dry gelatine and see how far it goes.
3. Mix the dry gelatine with water in a small container. I’ve found a ratio of about 1:2 (one gelatine to two water) by volume works ok. The ratio doesn’t have to be exact.
4. Stir it with a small stick and very soon the water is absorbed and the mixture “gels”.
5. Float the container in hot water at around 70-80 degrees C (160-180 degrees F) and soon you have hot, clear, liquid hide glue. There are various warming pots you can get to maintain the temperature but for small jobs I simply fill an insulated drinking mug with boiling water before preparing the mixture. By the time I’m ready it has cooled enough to use. Popping on the lid between applications will keep the heat in for quite a while and the hot water can be topped up as required.
6. Simply brush it on. It works just like typical woodworkers hide glue. Remember, it has high gel strength and you will need to work quickly before it gels.
7. Wipe off excess straight away with a hot moist rag. Clean up brushes etc. with very hot water.
8. The glue can be left to cool, reheated and reused several times. When it cools it looks just like edible jelly (which it is!). Keep the mixture in the fridge to preserve it and throw it out if there are any signs of mould or deterioration.
9. Don’t be frightened to experiment. It is an interesting material with a wide range of uses. For example it also bonds very well to paper, leather and glass but don’t apply it to glass items that will be washed in hot water! Also a diluted, cold mixture can be used as a label adhesive.
There are numerous articles on the internet about hide glue, for example I gleaned some extra ideas from:
https://en.wikipedia.org/wiki/Animal_glue
Make a display copy of a Number 6 dry cell
Derived from articles I wrote for “The Exchange” Volume 4, Issue 2 - March 2019 p.16
Derived from articles I wrote for “The Exchange” Volume 4, Issue 2 - March 2019 p.16
The No.6 dry cell served magneto telephone exchange customers for nearly 100 years. The example (right) is an Australian - made one from the 1950s-60s.
Collectors may have a need for display or for working models of the No. 6. They can still be purchased but they are expensive ($30-40 each) and are usually only a couple of modern alkaline cells enclosed in a shell of the original dimensions. |
I’ve fabricated several different copies of the No 6 over recent years with inspiration from various on-line resources including: https://www.radiolaguy.com/Batteries/Vintage_Batteries.htm
The “Radiola Guy” version required the least effort but still resulted in a reasonable facsimile and this version is similar to his. The shell is a post office cardboard mailing tube (60 x 420mm).
The original no 6 cell had a diameter of 66mm (2 5/8”) and a body height (not including terminals) of approx. 155mm (6 1/16”). I believe it gained the name of No. 6 due to its length of six inches? The terminal screws protrude about 10mm (3/8”) above the height of the body.
The 60mm (inside diameter) mailing tube has an outside diameter of 63mm, slightly less than original. Using a thick card label may improve this discrepancy. Tube length is 420mm so it could conceivably make two copy cells. PVC reticulation pipe has been suggested but the nearest OD I could find was 69mm - noticeably too big.
What you will need:
The process:
The “Radiola Guy” version required the least effort but still resulted in a reasonable facsimile and this version is similar to his. The shell is a post office cardboard mailing tube (60 x 420mm).
The original no 6 cell had a diameter of 66mm (2 5/8”) and a body height (not including terminals) of approx. 155mm (6 1/16”). I believe it gained the name of No. 6 due to its length of six inches? The terminal screws protrude about 10mm (3/8”) above the height of the body.
The 60mm (inside diameter) mailing tube has an outside diameter of 63mm, slightly less than original. Using a thick card label may improve this discrepancy. Tube length is 420mm so it could conceivably make two copy cells. PVC reticulation pipe has been suggested but the nearest OD I could find was 69mm - noticeably too big.
What you will need:
- Post office mailing tube. 60mm x 420mm. It cost less than $3.
- Machine screws, washers and knurled nuts. Good quality brass nuts are expensive but a packet of 10 (Chinese) white metal ones from Ebay cost a couple of dollars landed (I touched them up with gold pen!) M4 size screws are about right.
- Miscellaneous wire, cardboard, paint, spirit pens, glue etc (the usual shed stuff).
- Some beeswax and black shoe polish if you want to simulate a pitch seal.
- Paper label. For this exercise I downloaded a free one from this site: http://www.crystalradio.net/misc/batteries/ but you can buy them from the above-mentioned “Radiola Guy” or if you have access to an original No. 6 label, scan, tidy up in “photoshop” or similar.and print it.
- “D” cell/s if you want the facsimile to work. Note that two alkaline D cells connected in parallel will give 1.5V and similar current capacity to an original carbon zinc No. 6. You can simply solder the wires to the cell/s or invest in a plastic holder from your local electronics hobby shop. Remember, centre terminal is +ve (it’s written on the label).
The process:
- Gather all the parts
- Cut the mailing tube to length. A sharp, fine tooth wood or hack saw works.
- With a sharp knife remove the finger lugs from the inside of the end cap, drill it ready for the terminals and then paint/colour it black.
- Assemble the end cap/terminals and also wire if a battery is to be connected
- Cut out a thick cardboard disc for the end cap. It should be a friction fit inside the end cap to hide the retaining nuts, pack out the gap and simulate the original cardboard cap found it some types.
- Black pitch was used to seal the top in some early types of cells. To simulate this, obtain a couple of tablespoons of bees wax, heat it until melted, dye it with some black shoe polish and pour over the top. This gives a close simulation of the pitch.
- Print and trim the label to size.
- Assemble the parts (solder in the D cell/s?) and glue on the label. I didn’t bother here but you can pop on the second end cap at the bottom to finish the job although not noticeable for a display only.
An alternative
A common spray-paint can has very similar dimensions to a no. 6 dry cell. The following images show the progress from an empty paint can to a copy cell.
The top of the paint can was removed with a hammer and sharpened screwdriver but I’m sure there are more sophisticated ways of doing it. BEWARE; the can must be completely empty and de-gassed. Wear eye protection and cover it with an old cloth to prevent a mishap.
The lid was a scrap of 3mm MDF cut with a 64mm rotary hole saw (the type used to install door handles etc). After painting it black and fitting terminals, it was simply pressed in place and secured with a dab of general-purpose glue.
The paper label was produced by photographing the original, manipulating the image using a free, on-line editor to produce a reasonable copy and then sized and printed. The other parts and processes were much the same as mentioned previously.
A common spray-paint can has very similar dimensions to a no. 6 dry cell. The following images show the progress from an empty paint can to a copy cell.
The top of the paint can was removed with a hammer and sharpened screwdriver but I’m sure there are more sophisticated ways of doing it. BEWARE; the can must be completely empty and de-gassed. Wear eye protection and cover it with an old cloth to prevent a mishap.
The lid was a scrap of 3mm MDF cut with a 64mm rotary hole saw (the type used to install door handles etc). After painting it black and fitting terminals, it was simply pressed in place and secured with a dab of general-purpose glue.
The paper label was produced by photographing the original, manipulating the image using a free, on-line editor to produce a reasonable copy and then sized and printed. The other parts and processes were much the same as mentioned previously.
Definitions of Collectors’ Terms
With particular reference to collecting telephones, I’ve pondered the definitions of terms like antique, vintage etc. for years. The following descriptions are largely my interpretations and opinions but I’d like to commend the various websites cited in the text and at the rear from which I confirmed a number of points.
Should you disagree with any of my interpretations or wish to add something, please drop me a (polite) line via my contact page.
Antique: Generally accepted as a collectable object that is 100 years old or greater. For example, any telephone manufactured during or prior to WW1 is an antique.
Collectible/Collectable: (spelling appears to be interchangeable)
“An item that is worth far more than it appears because of its rarity and/or demand. Common categories of collectibles include antiques, toys, coins, comic books and stamps. Items that have been mass-produced, and thus are not rare, are often marketed as collectibles to drive consumer demand.”
(Source: http://www.investopedia.com/terms/c/collectible.asp)
Collecting
"The hobby of collecting includes seeking, locating, acquiring, organising, cataloguing, displaying, storing, and maintaining whatever items are of interest to the individual collector. The scope of collecting is unlimited: 'If something exists, somebody somewhere collects them'." (Source: http://en.wikipedia.org/wiki/Collecting)
Deception and fraud: If a vendor knows an item is not original and actively deceives a buyer by claiming it to be 100% genuine, then he/she is committing fraud, plain and simple.
Eames: Named after U.S. designers Charles and “Ray” Eames who worked between the 1930s and 1970s. It generally refers to their mid 1950s style of furniture characterised by the use of modern materials, moulded designs etc. The term is often erroneously applied to just about any mid to late 20th century plastic telephone by enthusiastic vendors. I can find no evidence that the Eames' ever designed telephones (see http://www.eamesoffice.com/)
Fake; definition 1: Some part of the item is original but it has been altered to enhance its value while still being described as 100% original. “Marriage” and “Fake" can be very similar definitions. It all depends on intent.
Fake: definition 2: The piece is an accurate, (usually) modern copy of an original item but it is described as 100% original.
Fantasy item: This is my own definition. It describes an item that started out as one thing but has been transformed by over-zealous “restoration” or deliberate modifications to significantly change its appearance or function. The most extreme example I’ve seen was a beautiful 1900s candlestick telephone converted into a table lamp!
Forgery: Usually applied to documents and artwork but effectively the same definition as "Fake 2" above. The piece is an accurate, (usually) modern copy of an original item but it is described as 100% original.
Look-alike: Has similar physical appearance to an original and usually marketed as a decorative item. Again no deception/fraud is involved if it is sold as such.
Marriage: An item made up of parts that did not originally belong together. The married parts may not necessarily be of the same period. Many old telephones on the market are obvious marriages. A typical example is a dial grafted onto an early magneto wall telephone to enhance its appeal. Another common but less obvious one is a phone fitted with an incorrect model handset.
Original: As implied, it is an item in complete and unaltered condition. Completely original collectable phones are rare items in Australia. Telephones were working appliances that were often harshly treated and regularly "refurbished" by PMG/Telecom. Similarly, collectors and dealers often restore degraded old phones as this may be the only way to obtain rarer models.
Over-restored: Implies loss of historic integrity.
A typical example of over-restoration is a wooden box wall telephone with the brass parts stripped back to bare metal and polished and lacquered, the case sanded and finished in modern high gloss polyurethane varnish and the original circuitry replaced by modern electronics. They never looked or worked like that originally and any evidence of their past life has been obliterated. In my mind, this example almost falls into the above category of “fantasy item”.
Refurbished: With respect to machines, appliances etc. refurbished generally means an item was defective then repaired to a working (and marketable) condition. The majority of older, collectable telephones would fit into this category as most Telcos (around the world) regularly refurbished their rental telephones and put them back into service. Telecom Australia was still doing this well into the 1980s.
Reproduction or copy: The item is an accurate, (usually) modern copy of an original item but is sold as such with no intention to deceive. The only difference between a reproduction and the above forgery/fake is the intention to deceive a buyer.
Restoration: Is action taken to make a deteriorated or damaged item understandable, with minimal sacrifice of aesthetic and historic integrity. Telephones restorations are difficult in one sense because they are/were working electrical appliances. To restore a phone to its original working condition will almost always involve sacrificing some historic integrity such as updating wiring, replacing faulty components etc (see "refurbished").
Vintage and Retro: These terms are a bit of a mystery to me but imply something not old enough to be an antique but still interesting enough to be collected. The terms are often loosely applied to just about anything that looks like it might be a mid to late 20th century design. The AntiqueHQ.com site suggests that “Vintage” items would be around 25 – 50 years old and “Retro” greater than 50 years but I found an on-line dictionary definition that suggests that "retro" simply implies "in a style or fashion from the past" (from retrospective) so it may also mean a modern piece akin to a "reproduction". I avoid using these definitions, if possible, and stick to a clearer description such as decade of manufacture.
Some images describing a few of the above definitions:
With particular reference to collecting telephones, I’ve pondered the definitions of terms like antique, vintage etc. for years. The following descriptions are largely my interpretations and opinions but I’d like to commend the various websites cited in the text and at the rear from which I confirmed a number of points.
Should you disagree with any of my interpretations or wish to add something, please drop me a (polite) line via my contact page.
Antique: Generally accepted as a collectable object that is 100 years old or greater. For example, any telephone manufactured during or prior to WW1 is an antique.
Collectible/Collectable: (spelling appears to be interchangeable)
“An item that is worth far more than it appears because of its rarity and/or demand. Common categories of collectibles include antiques, toys, coins, comic books and stamps. Items that have been mass-produced, and thus are not rare, are often marketed as collectibles to drive consumer demand.”
(Source: http://www.investopedia.com/terms/c/collectible.asp)
Collecting
"The hobby of collecting includes seeking, locating, acquiring, organising, cataloguing, displaying, storing, and maintaining whatever items are of interest to the individual collector. The scope of collecting is unlimited: 'If something exists, somebody somewhere collects them'." (Source: http://en.wikipedia.org/wiki/Collecting)
Deception and fraud: If a vendor knows an item is not original and actively deceives a buyer by claiming it to be 100% genuine, then he/she is committing fraud, plain and simple.
Eames: Named after U.S. designers Charles and “Ray” Eames who worked between the 1930s and 1970s. It generally refers to their mid 1950s style of furniture characterised by the use of modern materials, moulded designs etc. The term is often erroneously applied to just about any mid to late 20th century plastic telephone by enthusiastic vendors. I can find no evidence that the Eames' ever designed telephones (see http://www.eamesoffice.com/)
Fake; definition 1: Some part of the item is original but it has been altered to enhance its value while still being described as 100% original. “Marriage” and “Fake" can be very similar definitions. It all depends on intent.
Fake: definition 2: The piece is an accurate, (usually) modern copy of an original item but it is described as 100% original.
Fantasy item: This is my own definition. It describes an item that started out as one thing but has been transformed by over-zealous “restoration” or deliberate modifications to significantly change its appearance or function. The most extreme example I’ve seen was a beautiful 1900s candlestick telephone converted into a table lamp!
Forgery: Usually applied to documents and artwork but effectively the same definition as "Fake 2" above. The piece is an accurate, (usually) modern copy of an original item but it is described as 100% original.
Look-alike: Has similar physical appearance to an original and usually marketed as a decorative item. Again no deception/fraud is involved if it is sold as such.
Marriage: An item made up of parts that did not originally belong together. The married parts may not necessarily be of the same period. Many old telephones on the market are obvious marriages. A typical example is a dial grafted onto an early magneto wall telephone to enhance its appeal. Another common but less obvious one is a phone fitted with an incorrect model handset.
Original: As implied, it is an item in complete and unaltered condition. Completely original collectable phones are rare items in Australia. Telephones were working appliances that were often harshly treated and regularly "refurbished" by PMG/Telecom. Similarly, collectors and dealers often restore degraded old phones as this may be the only way to obtain rarer models.
Over-restored: Implies loss of historic integrity.
A typical example of over-restoration is a wooden box wall telephone with the brass parts stripped back to bare metal and polished and lacquered, the case sanded and finished in modern high gloss polyurethane varnish and the original circuitry replaced by modern electronics. They never looked or worked like that originally and any evidence of their past life has been obliterated. In my mind, this example almost falls into the above category of “fantasy item”.
Refurbished: With respect to machines, appliances etc. refurbished generally means an item was defective then repaired to a working (and marketable) condition. The majority of older, collectable telephones would fit into this category as most Telcos (around the world) regularly refurbished their rental telephones and put them back into service. Telecom Australia was still doing this well into the 1980s.
Reproduction or copy: The item is an accurate, (usually) modern copy of an original item but is sold as such with no intention to deceive. The only difference between a reproduction and the above forgery/fake is the intention to deceive a buyer.
Restoration: Is action taken to make a deteriorated or damaged item understandable, with minimal sacrifice of aesthetic and historic integrity. Telephones restorations are difficult in one sense because they are/were working electrical appliances. To restore a phone to its original working condition will almost always involve sacrificing some historic integrity such as updating wiring, replacing faulty components etc (see "refurbished").
Vintage and Retro: These terms are a bit of a mystery to me but imply something not old enough to be an antique but still interesting enough to be collected. The terms are often loosely applied to just about anything that looks like it might be a mid to late 20th century design. The AntiqueHQ.com site suggests that “Vintage” items would be around 25 – 50 years old and “Retro” greater than 50 years but I found an on-line dictionary definition that suggests that "retro" simply implies "in a style or fashion from the past" (from retrospective) so it may also mean a modern piece akin to a "reproduction". I avoid using these definitions, if possible, and stick to a clearer description such as decade of manufacture.
Some images describing a few of the above definitions:
Original:
Ericsson AC120 "Skeletal" table telephone. Showing original cords and wall rose. (Image source: 1911 Ericsson catalogue)
Ericsson AC120 "Skeletal" table telephone. Showing original cords and wall rose. (Image source: 1911 Ericsson catalogue)
Look-alike 1
A cheaply made 1990s look-alike of the Ericsson Skeletal: Although superficially similar, when compared to the genuine article the differences are obvious (e.g. overall weight, cords, transmitter, deck, legs and electrical operation are very different). The real giveaway is the push-button dial on the opposite side! Otherwise the made in China label on the bottom!
Image source: http://www.ebay.com.au/itm/Vintage-Old-Style-Skeleton-Phone-Telephone-/361247891658
A cheaply made 1990s look-alike of the Ericsson Skeletal: Although superficially similar, when compared to the genuine article the differences are obvious (e.g. overall weight, cords, transmitter, deck, legs and electrical operation are very different). The real giveaway is the push-button dial on the opposite side! Otherwise the made in China label on the bottom!
Image source: http://www.ebay.com.au/itm/Vintage-Old-Style-Skeleton-Phone-Telephone-/361247891658
Look-alike 2:
High quality look-alike of the Ericsson Skeletal manufactured as a commemorative in 1976; the obvious differences are the reversed generator, presumably to ensure that it couldn’t be on-sold as an original, and base and keypad. Apart from the obviously reversed layout, this instrument could also be described as a reproduction and I once saw one, with the base removed, offered for sale as original which made it a fake as well! (Image source: http://www.ebay.com/)
High quality look-alike of the Ericsson Skeletal manufactured as a commemorative in 1976; the obvious differences are the reversed generator, presumably to ensure that it couldn’t be on-sold as an original, and base and keypad. Apart from the obviously reversed layout, this instrument could also be described as a reproduction and I once saw one, with the base removed, offered for sale as original which made it a fake as well! (Image source: http://www.ebay.com/)
Over-restored
To quote “Like many models now on sale in good condition, this is a 'bitsa' telephone (bitsa this and bitsa that). The body has the imprint "No 16" showing this was a Post Office model, but it has been restored with National Telephone Company and Ericsson transfers. The handset is similar to an NTC model, as would be the bright brass fittings. An expert would also notice the three way handset cord instead of a four way, hence designed for modern central battery working, rather than local battery. For all that, a pleasant model to display.”
(Source: http://www.phone-pages.org.uk/skel.htm)
To quote “Like many models now on sale in good condition, this is a 'bitsa' telephone (bitsa this and bitsa that). The body has the imprint "No 16" showing this was a Post Office model, but it has been restored with National Telephone Company and Ericsson transfers. The handset is similar to an NTC model, as would be the bright brass fittings. An expert would also notice the three way handset cord instead of a four way, hence designed for modern central battery working, rather than local battery. For all that, a pleasant model to display.”
(Source: http://www.phone-pages.org.uk/skel.htm)
Marriage
Danish JYDSK table magneto telephone from around 1920. Retrofitted with a dial (from the rival company KTAS!) and also the incorrect handset from a wall telephone. (Image source: http://www.ebay.co.uk/)
Danish JYDSK table magneto telephone from around 1920. Retrofitted with a dial (from the rival company KTAS!) and also the incorrect handset from a wall telephone. (Image source: http://www.ebay.co.uk/)
Fantasy item
A table telephone "repurposed" as a table lamp! (https://www.pinterest.com/pin/388998486536640989/)
A table telephone "repurposed" as a table lamp! (https://www.pinterest.com/pin/388998486536640989/)
Other references:
http://www.antique-hq.com/the-difference-between-antique-vintage-and-collectible-item-127/
http://www.furniturestyles.net/european/english/reproductions.html
http://antiques-art-collectibles.com/collectible/furniture/fake_furniture.html
http://www.chubbcollectors.com/Vacnews/index.jsp?form=2&ArticleId=249
http://www.merriam-webster.com/dictionary/retro
http://www.antique-hq.com/the-difference-between-antique-vintage-and-collectible-item-127/
http://www.furniturestyles.net/european/english/reproductions.html
http://antiques-art-collectibles.com/collectible/furniture/fake_furniture.html
http://www.chubbcollectors.com/Vacnews/index.jsp?form=2&ArticleId=249
http://www.merriam-webster.com/dictionary/retro
Valuing your Collectables
A version of this article by this writer was published in the July - August 2018 edition of “Collectomania”, the official newsletter of the Collectibles Society of WA (Inc) and more recently in the "Exchange" newsletter.
Introduction
I regularly receive enquiries about values of various telephones from readers of this website: My answers are deliberately vague. The two main reasons are that I am not a dealer and I am not a qualified valuer. If I were, I wouldn’t be doing it for free via an amateur website! I have no formal qualifications or broad experience as a valuer. This not an academic article but simply observations based on personal experience and information obtained from public sources.
Another reason for my vagueness is that I have offended people in the past by giving honest personal opinions of their items’ worth. They had unrealistic expectations. In one example they assumed a quoted retail price was the value of their item and, in another, sentimental attachment wildly inflated their perception of its value.
If you’re looking at pursuing appropriate credentials, one place to start is the Auctioneers and Valuers Association of Australia, Inc. They conduct a range of formal courses. Be mindful that State Commerce Departments generally require individuals to be licensed as well.
Price and value
The two terms, price and value, are closely related and often interchanged but they are not exactly the same.
My very simplistic, layman interpretation is that a price is an actual sum of money asked by the seller or offered by a buyer for an item. A value is someone's opinion on how much that sum of money should be.
A quick look at the internet came up with these more formal definitions:
Price is “the amount of money expected, required, or given in payment for something.”
Market price “is the current price at which an asset or service can be bought or sold in a free and open market. The economic theory contends that the market price converges at a point where the forces of supply and demand meet. Shocks to either the supply side or demand side can cause the market price for a good or service to be re-evaluated.” Source: https://www.investopedia.com/
Value is an estimate of the monetary worth of something. This worth may be influenced by perceptions of such things as importance or usefulness.
Value is divided into two categories: Intrinsic and extrinsic value. From: https://www.investopedia.com/
Intrinsic value “is the inherent worth of an item.”
Extrinsic value “measures the difference between the market price of something and its intrinsic value.”
A simplistic way to explain these definitions is to consider a (hypothetical) rare, collectable magneto telephone. It has no practical use, as Australian magneto exchanges disappeared last century, so its value is not influenced by functionality or usefulness. It's really an obsolete piece of junk that may return, say, $5 as scrap metal but its rarity means collectors are prepared to pay $200 for it. Thus its intrinsic value is $5 but its extrinsic value is the $195 difference.
The extrinsic value is based on perception and demand and is always uncertain. This is clearly demonstrated by unstable values of certain collectables as demand waxes and wanes. A saying once bandied about at my collectables club was “people want collectables, they don’t need them” so values are strongly influenced by prevailing economics and fashions.
Perceived values
The following are my views of different values and/or their related price for the same hypothetical item. It all depends on the context. I will confine my observations to antiques/collectables but I am sure the principles are valid across other second-hand sales genres.
Sentimental value is someone's perception of the value of an item that has strong personal and emotional associations to them. The monetary value they attach to the item is usually wildly inflated. From a collector's point of view it may be unwise to pursue a transaction with a vendor with this mindset.
Retail market value would be the typical valuation of an item offered for sale by traditional shop-based and latterly, on-line, retailers. This is their livelihood and they have significant overheads that reflect in their, perceived, high prices. Also, retailers may apply the concept of “value optimised pricing” AKA “what the market can bear”, which simply means prices are based on what customers are willing to pay rather than a simple cost-plus approach. This approach relies on emotional rather than pragmatic buying behaviour.
The retail market value may be the figure used as a starting point for estimating insurance valuation. The National Council of Jewellery Valuers website gives some useful information on this topic:
https://ncjv.com.au/about/valuation-and-assessment/
Wholesale value is the maximum that a typical retailer will pay a supplier (e.g. you) for an item. This price may vary depending on a number of factors. One rule of thumb bandied around is that an antiques retailer will rarely pay more than 1/3 (one third) of their lowest retail price. In my opinion, the wholesale value/price is probably the safest for the average amateur collector to use when estimating what their collection may return if sold on the open market over a period of time.
Garage (or fire) Sale Value is an informal definition. It is the amount of money you could expect to get for an item if it had to be sold today. This will usually be a much lower value than any of the above. From my experience, GSV is a generic term sometimes used by financial advisors when estimating asset values for pension benefits.
The Secondary Market Value is yet another definition with which many of us are familiar.
Paraphrased from comments on https://www.waysidecountrystore.com/secondary-market-s/186.htm the secondary market is "the buying and selling of collectables previously sold on the primary market by retailers to collectors. Secondary market prices are determined by the collectors themselves who are buying and selling collectables". The value is what the collectors themselves arrive at through their “horse trading” with like-minded collectors. Trades are usually transacted through collector's clubs, local buy-and-sells, on-line forums etc.
Market size
In my opinion, the market price/value of an antique/collectable is heavily influenced by the size and viability of the particular collecting community. A “wake-up call” to phone collectors is to do an on-line auction search for “Star Wars” compared to “vintage telephones”! It will probably depress you! My own experiences indicate that, generally, antiques values are on a downward trajectory at the moment. Although there are exceptions to every rule.
How is a sale value/price arrived at by dealers?
From Wayne Jordan’s article: http://www.antiquetrader.com/antiques/behind_the_gavel_wayne_jordan_value_pricing/
“Antiques dealers rely on a variety of methods to determine the price of their wares; each dealer has his own “default” method of pricing. Some dealers price by “gut feel”, some use price guides that list (last year’s) average market price; some use online resources; some use a “markup” method. Taken individually, these pricing models have more weaknesses than strengths. Taken together, they provide a good foundation for determining the value of an item – and hence it’s best price.”
The gut-feel approach alone may be fraught with problems. A detailed understanding of the market and many years experience would be essential before valuing or buying up stock. In the next examples, relying only on historical sales data may be problematic, particularly in an uncertain market or for uncommon items with limited information and finally, the markup method by itself has problems. It works by starting with the wholesale price paid for an item, upon which some per-item operating expense, calculated from business overhead costs, is added and, then, the addition of a profit margin. Unfortunately the final selling price may not reflect the current state of the market. Jordan’s article gives an example of the markup approach and, unsurprisingly, arrived at the ratio of 3:1 mentioned previously. So the advice is adopt a combined approach; gain as much knowledge and experience as quickly as possible, do regular and in-depth research and apply some basic business mathematics before you leap into commercial collectables trading.
How to assess an antique
The antiques author, Pamela Wiggins produced the article;“How to Value Antiques Like an Appraiser”. https://www.thesprucecrafts.com/value-antiques-like-an-appraiser-148425
The advice seems appropriate for the majority of collectables including telephones. In summary, her main points:·
Marks: Manufacturer or designer marks may add value compared to unmarked pieces.
Condition: A mint condition item will always be worth more than a damaged identical one.
Rarity: Rare items may hold their value and collectors may be more forgiving of some damage.
Old doesn't always mean valuable: An old but commonly available item is usually not worth much.
Is it real or fake? Provenance and other evidence is very important.
Has It been restored or repaired? A restored item is generally not worth as much as a good original.
Does It have salvage value? Damaged items may still have some value, e.g. “scrap” or parts value.
Consider current market influences: Make yourself aware of what is currently “hot” or not.
Ask an expert friend for advice: Get advice from other experts that you trust.
Use median (middle) sales data: Realistic value is most likely middle of the range rather than best sales data.
John's note on valuing collectable telephones
Antique and collectable telephones (and related items) are sometimes difficult to value. It is a small, and specialised, collecting genre so there is not much public sales information available.
To get access to real sales data, there are two main options. The first is join a club. All the Australian clubs are now members of the STAA. Go to their site at https://telecommunicationsandsound.com/ to access the club in your area. The larger clubs usually have annual sales or auctions so you should be able to glean some information from them. The cost of joining a club is miniscule, so there should be no barrier to joining.
The second resource is on-line auction sites with "sold" data. The most common appears to be ebay. So far, I haven't found any other sites with a similar volume of vintage telephony items or "sold" data. If you find another suitable telephone auction site please let me know via the contact page.
Note my emphasis on "sold". Don't take much notice of asking prices. Many vendors appear to have unrealistic opinions of their item's value and they simply don't sell. To get an idea, pick a time period, say one week, and note the typical number of phones offered for sale. Then for a similar time period count the "sold" items. In my experience 1/3, or less, sell. This implies that many items were either undesirable or too expensive.
Viewing ebay sold items is fairly straightforward. From ebay website:
"You can also see how much items like yours have sold for in the past by checking out completed listings. Here's how:
1. Go to Advanced Search
2. Enter keywords that describe your item
3. Choose Completed listings and select Search"
A version of this article by this writer was published in the July - August 2018 edition of “Collectomania”, the official newsletter of the Collectibles Society of WA (Inc) and more recently in the "Exchange" newsletter.
Introduction
I regularly receive enquiries about values of various telephones from readers of this website: My answers are deliberately vague. The two main reasons are that I am not a dealer and I am not a qualified valuer. If I were, I wouldn’t be doing it for free via an amateur website! I have no formal qualifications or broad experience as a valuer. This not an academic article but simply observations based on personal experience and information obtained from public sources.
Another reason for my vagueness is that I have offended people in the past by giving honest personal opinions of their items’ worth. They had unrealistic expectations. In one example they assumed a quoted retail price was the value of their item and, in another, sentimental attachment wildly inflated their perception of its value.
If you’re looking at pursuing appropriate credentials, one place to start is the Auctioneers and Valuers Association of Australia, Inc. They conduct a range of formal courses. Be mindful that State Commerce Departments generally require individuals to be licensed as well.
Price and value
The two terms, price and value, are closely related and often interchanged but they are not exactly the same.
My very simplistic, layman interpretation is that a price is an actual sum of money asked by the seller or offered by a buyer for an item. A value is someone's opinion on how much that sum of money should be.
A quick look at the internet came up with these more formal definitions:
Price is “the amount of money expected, required, or given in payment for something.”
Market price “is the current price at which an asset or service can be bought or sold in a free and open market. The economic theory contends that the market price converges at a point where the forces of supply and demand meet. Shocks to either the supply side or demand side can cause the market price for a good or service to be re-evaluated.” Source: https://www.investopedia.com/
Value is an estimate of the monetary worth of something. This worth may be influenced by perceptions of such things as importance or usefulness.
Value is divided into two categories: Intrinsic and extrinsic value. From: https://www.investopedia.com/
Intrinsic value “is the inherent worth of an item.”
Extrinsic value “measures the difference between the market price of something and its intrinsic value.”
A simplistic way to explain these definitions is to consider a (hypothetical) rare, collectable magneto telephone. It has no practical use, as Australian magneto exchanges disappeared last century, so its value is not influenced by functionality or usefulness. It's really an obsolete piece of junk that may return, say, $5 as scrap metal but its rarity means collectors are prepared to pay $200 for it. Thus its intrinsic value is $5 but its extrinsic value is the $195 difference.
The extrinsic value is based on perception and demand and is always uncertain. This is clearly demonstrated by unstable values of certain collectables as demand waxes and wanes. A saying once bandied about at my collectables club was “people want collectables, they don’t need them” so values are strongly influenced by prevailing economics and fashions.
Perceived values
The following are my views of different values and/or their related price for the same hypothetical item. It all depends on the context. I will confine my observations to antiques/collectables but I am sure the principles are valid across other second-hand sales genres.
Sentimental value is someone's perception of the value of an item that has strong personal and emotional associations to them. The monetary value they attach to the item is usually wildly inflated. From a collector's point of view it may be unwise to pursue a transaction with a vendor with this mindset.
Retail market value would be the typical valuation of an item offered for sale by traditional shop-based and latterly, on-line, retailers. This is their livelihood and they have significant overheads that reflect in their, perceived, high prices. Also, retailers may apply the concept of “value optimised pricing” AKA “what the market can bear”, which simply means prices are based on what customers are willing to pay rather than a simple cost-plus approach. This approach relies on emotional rather than pragmatic buying behaviour.
The retail market value may be the figure used as a starting point for estimating insurance valuation. The National Council of Jewellery Valuers website gives some useful information on this topic:
https://ncjv.com.au/about/valuation-and-assessment/
Wholesale value is the maximum that a typical retailer will pay a supplier (e.g. you) for an item. This price may vary depending on a number of factors. One rule of thumb bandied around is that an antiques retailer will rarely pay more than 1/3 (one third) of their lowest retail price. In my opinion, the wholesale value/price is probably the safest for the average amateur collector to use when estimating what their collection may return if sold on the open market over a period of time.
Garage (or fire) Sale Value is an informal definition. It is the amount of money you could expect to get for an item if it had to be sold today. This will usually be a much lower value than any of the above. From my experience, GSV is a generic term sometimes used by financial advisors when estimating asset values for pension benefits.
The Secondary Market Value is yet another definition with which many of us are familiar.
Paraphrased from comments on https://www.waysidecountrystore.com/secondary-market-s/186.htm the secondary market is "the buying and selling of collectables previously sold on the primary market by retailers to collectors. Secondary market prices are determined by the collectors themselves who are buying and selling collectables". The value is what the collectors themselves arrive at through their “horse trading” with like-minded collectors. Trades are usually transacted through collector's clubs, local buy-and-sells, on-line forums etc.
Market size
In my opinion, the market price/value of an antique/collectable is heavily influenced by the size and viability of the particular collecting community. A “wake-up call” to phone collectors is to do an on-line auction search for “Star Wars” compared to “vintage telephones”! It will probably depress you! My own experiences indicate that, generally, antiques values are on a downward trajectory at the moment. Although there are exceptions to every rule.
How is a sale value/price arrived at by dealers?
From Wayne Jordan’s article: http://www.antiquetrader.com/antiques/behind_the_gavel_wayne_jordan_value_pricing/
“Antiques dealers rely on a variety of methods to determine the price of their wares; each dealer has his own “default” method of pricing. Some dealers price by “gut feel”, some use price guides that list (last year’s) average market price; some use online resources; some use a “markup” method. Taken individually, these pricing models have more weaknesses than strengths. Taken together, they provide a good foundation for determining the value of an item – and hence it’s best price.”
The gut-feel approach alone may be fraught with problems. A detailed understanding of the market and many years experience would be essential before valuing or buying up stock. In the next examples, relying only on historical sales data may be problematic, particularly in an uncertain market or for uncommon items with limited information and finally, the markup method by itself has problems. It works by starting with the wholesale price paid for an item, upon which some per-item operating expense, calculated from business overhead costs, is added and, then, the addition of a profit margin. Unfortunately the final selling price may not reflect the current state of the market. Jordan’s article gives an example of the markup approach and, unsurprisingly, arrived at the ratio of 3:1 mentioned previously. So the advice is adopt a combined approach; gain as much knowledge and experience as quickly as possible, do regular and in-depth research and apply some basic business mathematics before you leap into commercial collectables trading.
How to assess an antique
The antiques author, Pamela Wiggins produced the article;“How to Value Antiques Like an Appraiser”. https://www.thesprucecrafts.com/value-antiques-like-an-appraiser-148425
The advice seems appropriate for the majority of collectables including telephones. In summary, her main points:·
Marks: Manufacturer or designer marks may add value compared to unmarked pieces.
Condition: A mint condition item will always be worth more than a damaged identical one.
Rarity: Rare items may hold their value and collectors may be more forgiving of some damage.
Old doesn't always mean valuable: An old but commonly available item is usually not worth much.
Is it real or fake? Provenance and other evidence is very important.
Has It been restored or repaired? A restored item is generally not worth as much as a good original.
Does It have salvage value? Damaged items may still have some value, e.g. “scrap” or parts value.
Consider current market influences: Make yourself aware of what is currently “hot” or not.
Ask an expert friend for advice: Get advice from other experts that you trust.
Use median (middle) sales data: Realistic value is most likely middle of the range rather than best sales data.
John's note on valuing collectable telephones
Antique and collectable telephones (and related items) are sometimes difficult to value. It is a small, and specialised, collecting genre so there is not much public sales information available.
To get access to real sales data, there are two main options. The first is join a club. All the Australian clubs are now members of the STAA. Go to their site at https://telecommunicationsandsound.com/ to access the club in your area. The larger clubs usually have annual sales or auctions so you should be able to glean some information from them. The cost of joining a club is miniscule, so there should be no barrier to joining.
The second resource is on-line auction sites with "sold" data. The most common appears to be ebay. So far, I haven't found any other sites with a similar volume of vintage telephony items or "sold" data. If you find another suitable telephone auction site please let me know via the contact page.
Note my emphasis on "sold". Don't take much notice of asking prices. Many vendors appear to have unrealistic opinions of their item's value and they simply don't sell. To get an idea, pick a time period, say one week, and note the typical number of phones offered for sale. Then for a similar time period count the "sold" items. In my experience 1/3, or less, sell. This implies that many items were either undesirable or too expensive.
Viewing ebay sold items is fairly straightforward. From ebay website:
"You can also see how much items like yours have sold for in the past by checking out completed listings. Here's how:
1. Go to Advanced Search
2. Enter keywords that describe your item
3. Choose Completed listings and select Search"
Storing and displaying antiques and collectables
A version of this article, by this author, was published in a recent edition of the "Collectomania" newsletter. It is not specifically aimed at telephones but they share characteristics with many other collectable genres so it is equally applicable.
The sources of information for this article included:
Risk of damage
All antiques and collectables have some value, either monetary or sentimental. Store and display them properly, as improper storage methods and adverse environmental conditions can damage your collection and affect its value. For example:
Proper storage
The proper handling and storage of collectables will help maintain your collection's integrity and value.
Displaying collectables
Apply similar rules regarding the environment etc. described above but also consider the following:
Appraising and documenting collectables
To determine the value of your collection, prepare an inventory and get your collectables professionally appraised. A detailed inventory including expert valuations can help you not only document your collectables, but also provide valuable information for insurance purposes.
Insurance
When you have completed the inventory and appraisals, it's a good idea to insure it. Home insurance policies may provide limited cover for antiques and collectables but you may want to consider purchasing additional insurance. Consult an appropriate broker.
A version of this article, by this author, was published in a recent edition of the "Collectomania" newsletter. It is not specifically aimed at telephones but they share characteristics with many other collectable genres so it is equally applicable.
The sources of information for this article included:
- Statefarm - a large US insurance company: https://www.statefarm.com/simple-insights/smart-ideas/tips-for-collectible-storage-and-display
- WA Museum: https://manual.museum.wa.gov.au/conservation-and-care-collections-2017
- National WWII Museum, New Orleans USA: https://www.nationalww2museum.org/preservation-artifacts
Risk of damage
All antiques and collectables have some value, either monetary or sentimental. Store and display them properly, as improper storage methods and adverse environmental conditions can damage your collection and affect its value. For example:
- Extreme dryness can cause organic materials to harden and become brittle.
- Excessive moisture can rust or corrode metallic items, and attract mould/fungus to objects with organic components such as paper or cotton / fabric items.
- Temperature changes can cause objects to crack and warp.
- Too much sunlight can fade photos and documents and discolour various surface finishes such as plastics found in telephones.
- Poor ventilation can encourage mould and pests.
Proper storage
The proper handling and storage of collectables will help maintain your collection's integrity and value.
- Organic materials such as timber, fabric items and paper documents (books, maps, stamps etc.) should be stored at a consistent temperature - around 20 degrees C, a humidity in the range of 40-70%, well ventilated and away from direct sunlight. Acid free plastic, or paper, protector sleeves may also be used to protect individual items. These are available from specialist archival suppliers.
- The storage area should also have good air circulation and medium humidity to prevent mould. A dehumidifier may be useful in damp climates. Of course, cigarette smoke is wholly disallowed!
- Robust metal items such as telephones, signs, figurines etc should be stored in a clean, dry place to prevent rusting or other corrosion.
- Timber contains acetic acid and other undesirable substances. Vapours from timber can corrode metals and degrade other materials over time. Investigate shelving and storage options for best choices to minimise artefact damage.There are numerous on-line info. resources available.
- Coins, badges, jewellery etc. are also metallic and will deteriorate in dirty/damp environments as above. A dust-free, low-humidity environment and constant temperature can help protect them. Coins are best stored in their own presentation case or individually in a Mylar plastic holder. Contact your coin dealer for more information.
- Delicate items should be stored wrapped in acid-free paper.
- Heavy items should be kept upright, not stacked on top of each other, to avoid crush or warping damage.
- In flood-prone areas, consider protecting items in sealable plastic bins and storing them well above a predicted flood level.
- Australia is a fire-prone country. Take measures to protect yourself, your home and your possessions.
Displaying collectables
Apply similar rules regarding the environment etc. described above but also consider the following:
- Ensure a smoke-free environment as smoke residue can stain collectables.
- Gently dust items regularly. Built-up dust attracts atmospheric moisture and pollutants. This promotes corrosion of metal items and degradation of organic materials.
- Keep items out of direct sunlight. As previously suggested, heat and ultraviolet rays can damage plastic, paper-based and many other objects. Photographs and other paper items should be displayed behind anti-UV glass.
- Certain timbers give off substantial acetic acid and other vapours that can degrade metal objects in particular. Investigate your best shelving options. There are numerous on-line resources.
- Keep collectables out of the reach of pets and small children and ensure they are stable and secure.
- Consider investing in a security system. This offers some level of protection to both occupants and the collection.
Appraising and documenting collectables
To determine the value of your collection, prepare an inventory and get your collectables professionally appraised. A detailed inventory including expert valuations can help you not only document your collectables, but also provide valuable information for insurance purposes.
- Most collecting genres have related clubs or associations. They are generally a good place to start when seeking competent advice about your items. In Australia, some good places to start include: Historic telecommunications/telephones http://www.telecommunicationsandsound.com/ , Historic radios and gramophones https://vwgc.org.au/ , and General collectables http://www.pristineantiques.com.au/collectors-clubs.
- Carefully document each collectable item. The more information, the better. Include information like its source and known history (provenance), cost, estimated value etc.
- Take photos of each object.
- Retain receipts or other evidence to conclusively establish ownership of items.
- Update your inventory regularly.
- Keep photos and documentation in a safe off-site location or digital storage.
Insurance
When you have completed the inventory and appraisals, it's a good idea to insure it. Home insurance policies may provide limited cover for antiques and collectables but you may want to consider purchasing additional insurance. Consult an appropriate broker.
Why do we collect?
A version of this article by this writer was published in the July - August 2018 edition of “Collectomania”, the official newsletter of the Collectibles Society of WA (Inc) and more recently in the "Exchange" newsletter.
Sources: The information for this article wholly derived from:
“Collectors collect for many reasons but there is one common motivation – pleasure.”
Brain physiology
Understanding the underlying brain physiology that controls feelings of pleasure and fear and associated reactions is beyond the capacity of this writer, but in simplistic terms:
The complex relationships between chemical neurotransmitters such as dopamine, serotonin and acetylcholine and two major systems located mostly in the central (primitive) brain are the main human motivation sources. The systems are the reward circuit in the medial forebrain bundle (MFB) and punishment circuits in the periventricular system (PVS). Stimulation of the punishment circuits can inhibit the reward circuit. The (modern brain) posterior medial cortex on the surface of the brain modulates these competing factors and others. Depending on the strength of these factors, a decision will be made for or against an action.
As far as collectors are concerned, if a treasure is found, immediate pleasure prevails via the MFB unless there are inhibiting factors. For example, if the price is too high, elements of the punishment circuit feed back, squelching the pleasure and the sale may be disrupted. Similarly, if the buyer feels s/he is being deceived, other fear components in the PVS are stimulated, counteracting the reward circuit and again aborting a sale.
Although all collectors seek pleasure when they collect, there are differences in the motivators for each collector. This is because there are psychological reinforcers that feed into their reward circuit and spark their desire for their chosen collectables. The list of possible reinforcers is huge but a few of the most common appear below.
Reinforcers
These will vary dramatically between collectors:
A version of this article by this writer was published in the July - August 2018 edition of “Collectomania”, the official newsletter of the Collectibles Society of WA (Inc) and more recently in the "Exchange" newsletter.
Sources: The information for this article wholly derived from:
- Shirley M. Mueller, “The Psychology of Collecting,” https://www.mdmag.com/physicians-money-digest/columns/my-money-md/04-2016/the-psychology-of-collecting
- “The Brain from Top to Bottom” https://thebrain.mcgill.ca/avance.ph
“Collectors collect for many reasons but there is one common motivation – pleasure.”
Brain physiology
Understanding the underlying brain physiology that controls feelings of pleasure and fear and associated reactions is beyond the capacity of this writer, but in simplistic terms:
The complex relationships between chemical neurotransmitters such as dopamine, serotonin and acetylcholine and two major systems located mostly in the central (primitive) brain are the main human motivation sources. The systems are the reward circuit in the medial forebrain bundle (MFB) and punishment circuits in the periventricular system (PVS). Stimulation of the punishment circuits can inhibit the reward circuit. The (modern brain) posterior medial cortex on the surface of the brain modulates these competing factors and others. Depending on the strength of these factors, a decision will be made for or against an action.
As far as collectors are concerned, if a treasure is found, immediate pleasure prevails via the MFB unless there are inhibiting factors. For example, if the price is too high, elements of the punishment circuit feed back, squelching the pleasure and the sale may be disrupted. Similarly, if the buyer feels s/he is being deceived, other fear components in the PVS are stimulated, counteracting the reward circuit and again aborting a sale.
Although all collectors seek pleasure when they collect, there are differences in the motivators for each collector. This is because there are psychological reinforcers that feed into their reward circuit and spark their desire for their chosen collectables. The list of possible reinforcers is huge but a few of the most common appear below.
Reinforcers
These will vary dramatically between collectors:
- The pride felt in acquiring exquisite objects. Rarity and completion of a group may set the collector apart from peers and elicit recognition and admiration.
- Acquiring a desirable item at a modest price. The collector’s feelings of self-importance at being so astute are raised and enables “bragging rights.” There may also be an underlying profit motive.
- The thrill of the chase. The goal is finding the most desirable object and outwitting the competition whether they be dealers or other collectors.
- Feeling a sense of history when assembling objects. By owning antiques or vintage items, the collector feels a connection to a bygone era, important people (perhaps ancestors) or historical events.
- Looking to the future. The reverse of feeling a sense of history is where the collector hopes to build a legacy by preserving and passing on special objects to future generations.
- Intellectual satisfaction. Some collect because it is an intellectual process requiring discipline, knowledge and an eye for the unusual.
- Enhancing their social lives. This may drive some to collect particular objects. Although the original author suggests their love of the objects probably came first but they incidentally forged pleasant relationships through membership of collectors clubs, forums etc.
- Some people simply enjoy updating, arranging and rearranging their collection. This may serve some deeper psychological traits or it could simply show improved organisational skills as tastes change or knowledge accumulates.
- All of these reinforcers to collect involve anticipation. The collectors’ desires allow them to imagine anything they want about the rewards the objects will bring. Brain scans of the pleasure centres have shown the anticipation of the reward is often more exciting than having it. This might explain, in part, why collecting often transcends a mere pastime and becomes a passion. It gives such pleasure that the individual wants to pursue it more and more vigorously.
Repair Bakelite etc.
Arwin at http://www.matilo.eu/restauratie/hoe-repareer-ik-bakeliet-waar-een-chip-uit-is/?lang=en has written a comprehensive article on repairing Bakelite with two-pack epoxy glue and carbon black colourant. I have tried his method and it works well. I also experimented using other pigments that seem to work well. Talcum powder gives a soft translucent white and artists' acrylic paints much stronger colours.
This method, using Cyanoacrylate (CA) glue, may also be useful to do small/fine repairs on chipped black Bakelite. Remember - always practice on low value items before launching into a repair on your pride and joy! Click once to open the PDF file below and back to return to the page.
Arwin at http://www.matilo.eu/restauratie/hoe-repareer-ik-bakeliet-waar-een-chip-uit-is/?lang=en has written a comprehensive article on repairing Bakelite with two-pack epoxy glue and carbon black colourant. I have tried his method and it works well. I also experimented using other pigments that seem to work well. Talcum powder gives a soft translucent white and artists' acrylic paints much stronger colours.
This method, using Cyanoacrylate (CA) glue, may also be useful to do small/fine repairs on chipped black Bakelite. Remember - always practice on low value items before launching into a repair on your pride and joy! Click once to open the PDF file below and back to return to the page.
graphite_superglue.pdf | |
File Size: | 249 kb |
File Type: |
The following file is an update of a note prepared recently (2023) for a talk at a local club on basics of glueing Bakelite and other plastics. Click once to open the PDF file below and back to return to the page.
plastics_glueingsep23.pdf | |
File Size: | 206 kb |
File Type: |
History of plastics in telephony
The PDF (published in club newsletters) below gives a simple history of 19th and 20th century plastics used in telephony. Click once to open the PDF file below and back to return to the page. NOTE: This is an updated version of this article published previously.
The PDF (published in club newsletters) below gives a simple history of 19th and 20th century plastics used in telephony. Click once to open the PDF file below and back to return to the page. NOTE: This is an updated version of this article published previously.
a_brief_history_of_plastics_used_in_telecommunications_equipment_1.pdf | |
File Size: | 809 kb |
File Type: |
Further information on plastics
Recycling
https://www.sustainabilitypathways.com.au/plastic-recycling-symbols/
Identifying plastics
partec.qld.edu.au/wp-content/uploads/2018/09/Plastics_Identification_Flow_Chart.pdf
How adhesives work
https://www.explainthatstuff.com/adhesives.html
Recycling
https://www.sustainabilitypathways.com.au/plastic-recycling-symbols/
Identifying plastics
partec.qld.edu.au/wp-content/uploads/2018/09/Plastics_Identification_Flow_Chart.pdf
How adhesives work
https://www.explainthatstuff.com/adhesives.html