The World of Collecting
By Oliver Strebel-Ritter
What many people forget is that there is far more to the vintage, veteran, classic and collector’s car market than just the cars . . . and how many of the readers can afford the original full-scale example? Well, there are many far more reasonable alternatives and, after you have read this, I think you will agree with me.
The motoring collector’s field is almost limitless in its variety; take for example motoring art, fine models, picnic hampers, mascots, horns, die cast toys, race suits, helmets and gloves, steering wheels, trophies, tin-plate toys, engineered models, medals, signed photographs, scratch-built one-off models, pedal cars and so much more.
The unique selling point of buying via an auction is that prices range between £20 and £20,000. This allows everyone, irrespective of their situation, the opportunity to collect a motoring-related field and to develop their collection in line with their financial circumstances. The icing on the cake is that the collector will not have to take their collection to be serviced either.
The collector’s field is always dictated by the average age of the collector, which at this moment is 40. Therefore, the current strong collector’s sector is the period between 1960 and 1970. People inherently look to memories of their childhood and this affects the auction prices, often setting them at that level until the current generation starts to disappear.
Take the example of diecast model cars. In the ’60s, boys would search out the latest releases of the cars they saw on the streets or that were driven by their fathers. Now, as adults, they still search for that original toy and take delight in finding a mint and boxed example, which they then show to their sons. Their diecast models, which originally cost shillings, are now in many cases worth hundreds of pounds per model. Some of the rare versions run to the multiple 1,000s of pounds. However, you can still buy mint and boxed diecast for as little as £3. Now people are very keen on collecting 1:18th scale diecast and plastic cars, generally of sports cars. This will become a collector’s market within the next 20 years.
Why not consider collecting mascots. With the emphasis on pedestrian safety, even cars that still utilize mascots tend to have sophisticated lock-away or flex systems. Now a mascot is more likely to be purchased for internal display. Many like the Skier or the Billikin can be had for as little as £30-50. Many auction houses also sell generous group lots of mascots due to their low value. However, this allows the novice mascot collector to start a large collection easily before he cuts back to concentrate on the cream of the mascots, valued at between £200 and £5,000.
A practical field, if you like eating out, is collecting motor car picnic hampers. You can also include traveling drinks & hors d’oeuvres sets and vanity sets. This field allows for the collation of the most complex and intricate of collectibles. These sets include crystal, silver, inlaid woods and bone china, and a complete original can run to £4,000. However, once again, the novice can begin with the £30 postwar 1950s/1960s sets and upgrade later. There are many dealers in Georgian furniture who will also purchase from this category, as the quality of workmanship can be so high.
The F1 and racing market is going through a very quiet time and is therefore very viable to collect. Current drivers allow for the field to always be big and, like the latest ladies’ handbag, the latest driver is a must have until the next one comes along. A signed photograph can be had for as little as £20, all the way up to original Senna canvases at £5,000 and racing helmets in the tens of thousands.
Hand-built and scratch-built models are the newest field and have only become collectible in the last 10 or so years. The public now appreciates a fine model in all its detail as a cross between a sculpture and a real car. Modelers now use authentic materials that reflect the original cars makeup and have opening body sections, doors and finely replicated engines. At the top end we have models by the likes of Michele Conti, Gerald Wingrove, Manuel Olivé Sans, Alistair Brookman and others that make one-off examples that are so well built and true that they could be the original car. Prices range from £250 for a 1:20th scale hand-built, to £35,000 for a one-off scratch-built by one of the masters. (And it is only 14 inches long.)
Oliver Strebel-Ritter, of World Collector, can be reached at [email protected], or by phone (44) 07739 514171.
Collecting Model Cars
By Marshall Buck
So many models, so many possibilities. There is a great deal to know on the subject and a wealth of information out there, but unfortunately, much is misinformation. Having been a collector, builder, broker, dealer, consultant and manufacturer of model cars, I have pretty much seen it all. The choices at first glance may seem endless but they aren’t really, once you have a basic understanding, as well as a direction in which to go. Whether you are a well-seasoned collector or new to the whole scene, here are three recommendations: 1) Buy what you like even if it’s a $5.00 model of a Vespa. 2) Buy quality. It usually costs more, but not always. Just the same as when buying real collector cars, buy the best example you can afford and go for quality and provenance if applicable. 3) Do your homework; ask questions, read and become knowledgeable.
Certain cars like the iconic Ferrari 250 GTO have been modeled to death in almost every scale produced from 1:87 to 1:8, and even 1:5. The lower the number the larger the model. The scales that cater most often to serious collectors are 1:43, 1:24, 1:12 and 1:8. Two widely produced scales you’ll see everywhere are 1:43rd and 1:18th scale. I have a small fleet of 1:18 and 1:43 myself. In 1:43rd scale you’ll find more choices than in any other scale though the small size is often an issue and some examples are not well done. The 1:18th diecasts are generally for the more casual collector. There are a few manufacturers in this scale that offer what could be considered great quality.
Important considerations are the method of manufacture and quantity of the edition. Choices run the gamut from mass-produced, mass-market diecasts cranked out of factories in China to limited-edition hand-built models from various artisan workshops around the world. Another area is that of custom built, exactly replicating your car or others. Limited-edition models are typically offered in editions from as few as 10 up to 500, though anything above 250 is bordering on mass produced, may lack rarity, and can suffer in quality.
If you’re starting a serious collection, you need to focus, do your homework and concentrate on quality. Rarity is good too, but it greatly depends on the piece and the market. However, if you are casually collecting, and looking for a few pieces for your general collection of automobilia or a few models of your car(s) and aren’t concerned with value or anything else, then just buy what you come across and like. There are so many sources– numerous model dealers around the world, specialist model makers, private parties and auction houses which you should only deal with if you really know your subject and the auction is by a reputable firm. I can’t count how many times I have read misleading and completely wrong descriptions on models in auction catalogs, so “caveat emptor.”
Prices and detail levels can and do vary greatly. You can get a really nice diecast model for as little as $30 up to about $300. Although those will hardly ever compare favorably to a great hand-built or custom-built at $250 to $5,000 or more for an incredible jewel-like piece. Then there are the one-of-a-kind scratch-built models that are a whole other world. Hand-built model cars that we carry range in price from $800 to well over $7,500.
There are just too many factors to explain here in great depth. Suffice it to say, that more detail is often the way to go and price is usually commensurate with detail, quality and rarity. The better quality diecast pieces offer a lot of bang for the buck, although truly historic accuracy is rare. Only a few of the diecasts will ever sustain or increase in value.
As the saying goes: you get what you pay for.
Marshall Buck, owner of Creative Miniatures Associates, can be reached at [email protected]
Collecting Automotive Fine Art
By Ken Eberts
Automotive fine art has come of age. What was once only considered art for car nuts has matured into fine art collected by connoisseurs and auto enthusiasts worldwide. Automotive fine art now appears in prominent private collections, high-profile museums and Fortune 500 boardrooms. Galleries across the globe offer beautifully mastered watercolors, oils and sculptures to leading executives, entertainment stars and affluent collectors, as well as automotive aficionados. Automotive fine art even has its own stable of stars, such as those in the Automotive Fine Arts Society (AFAS). The AFAS is comprised of a group of artists that bring the passion of automobiles to life in their art, and are considered by critics to be among the best in their field.
The market for fine automotive art is growing, and rules for purchasing pieces are different than in other genres of art. Like any investment, it is important to understand what to look for before making a purchase. The following tips, garnered through conversations with AFAS members and renowned art collectors, should be kept in mind when considering the purchase of automotive fine art.
The most important factor in any selection is your reaction to a piece. You should enjoy looking at the work every day. Look for art in a style that invokes a fond memory of your first car, a race you attended, a place you visited, etc. Some collectors seek an artistic representation of a vehicle they own or would like to own.
More and more major events and museums are including automotive fine art as part of their exhibits. Galleries, annual concours d’elegance events, major collector car auctions and races worldwide provide a chance to become familiar with different types of automotive art. They are also an excellent opportunity to speak directly to the artists about their work. Noteworthy shows include the Amelia Island Concours d’Elegance, Cavallino Classic and the Pebble Beach Concours d’Elegance. Automotive museums, such as the renowned Petersen Automotive Museum in Los Angeles, are also great venues for viewing art.
The best automotive fine art stirs the heart and stimulates the mind. Look for a provocative feeling in the art and a sense of timelessness. Depending on the subject, the work can invoke a sense of speed, power, excitement, history and nostalgia, or reflect quiet beauty and serenity. Automobiles are beautiful machines that represent various time periods and cultures, so choosing art that pays tribute to the automobile and its legacy is vital.
Purchasing fine art can be challenging and exhilarating. Automotive fine art connoisseurs are fortunate to be able to choose from many styles of art. By featuring the automobile as its central theme, subjects can vary in design, form and culture, making each piece extraordinary. The choices are endless.
These tips will help you find and purchase artwork that is beautiful, as well as an intelligent financial investment. In the end, buy what you like; if it pleases you, then you’ve made a wise purchase.
Ken Eberts has been the president of the AFAS since its inception 22 years ago. Additional information about the AFAS is available at www.autoartgallery.com/afas.
Collecting Racing Photography
By Dale LaFollette
If you would like to collect racing automobilia and you want something that takes little room and doesn’t need to be dusted, photographs are the answer. The categories that are available to collect are as varied as the collectors themselves. You could, for instance, collect photos of your favorite driver or racecar or team, or even racing events such as Le Mans or the Miglia Mille. Or you can collect racing photography in general, all eras, all types, just photos that you find interesting or unusual.
Great racing photography can be hard to find on a retail level in the United States. While the Internet has provided many new opportunities to purchase racing photography, you should proceed with caution as there are some real junk peddlers out there, too. It is also possible to contact many photographers directly through the Internet but you need to have an idea of the photograph you are looking for, as most photographers do not have a catalog to choose from. In the U.S., magazines tend to keep a large library of photos but rarely put them on the market. However, in Europe, the magazines do sell their photographs at times so that it is possible to find them in swap meets there.
As in the general photographic art market itself, many collectors collect only vintage photographs, meaning photos that were printed at or near the time that they were taken. Sometimes the age of a photograph is hard to prove, so you need to familiarize yourself with the various types of photographic papers to be sure that you are looking at a truly old photo. It also helps to know the original source of the photograph, tracing its ancestry if possible, to confirm its age. This can be as easy as turning the photo over to read what is printed or stamped on the back. Most photographers stamp their name on all their photographs, which would tell you that it is not a copy but from the original negative. Many magazines stamp both their name and the date they used the photograph, which can also be a guide. Most vintage racing photographs range from 5 x 7 inches to 8 x 10 inches, as those sizes were used by magazines. Finding larger vintage photographs is very rare as they were expensive to make and could only be used for display purposes.
In this era of everything being sold in “limited editions,” photographs are the ultimate limited edition as most photographers print only a very few of each image. The reason is that, if they were to submit the same photograph to more than one magazine and the magazines found out about it, their work would not be welcomed again. In other words, if you are looking at a real vintage photograph, then it is completely possible that it is the only one in the world. At the very least you will rarely see it on someone else’s wall.
Digital photography has come of age but many collectors shun it because of its poor reputation for both longevity and quality. The latest printing techniques are much better than they were just a very few years ago. However, you should always ask how the photo was printed just so you fully understand what you are buying.
While many great racing photographs can be purchased for far less than $100, there are some photographs by named photographers that sell in the thousands of dollars, so ultimately you are the judge of what you should pay. It all depends on your budget and your desires.
Many photography collectors keep their collection in binders or file folders, but to really appreciate your collection you need to display them on a wall so that you can see them daily. Have you run out of wall space? Then rotate your photographs so that your display wall is always fresh and new. Metal frames are both cheap and easy to put together, and they are better for the health of your photographs too, as wooden frames put out a harmful gas as the wood deteriorates. When choosing a frame, use a black or colored frame for color photographs only. If you use black frames on a black and white photograph, the frame will detract from the black of the photograph. Instead, for black and white photographs, use a gun-metal, pewter or silver frame for the best visual results. Sepia photographs are enhanced by using a walnut color or gold frame. If you want to rotate your photographs then those plastic box frames are both cheap and fast to change photographs in.
Finally, go slow, choose carefully, ask questions, deal with people that you can trust and buy what your heart tells you.
Dale LaFollette is the owner of Vintage Motorphoto, www.vintagemotorphoto.com, Tel. 503 697 3204, Fax 503 699 0433.
Collecting Official Team Gear
By Morry Barmak
Anyone who has seen a Formula One race knows how fanatically loyal spectators can be. Diehard fans have been trying to look like official F1 team members for years. Owning an original team-issue item puts a fan that much closer to the pulse of F1. This has always been difficult because F1 team-issue gear is not commercially available, and the replica clothing some teams offer is not of the same quality or design as the original. Official team-issue gear is only made for the team to wear, and usually no more than a few hundred pieces per year are made for mechanics, drivers, and other personnel. Trace amounts do happen to “get out” each year—these are highly collectible and expensive. However, even if expensive, they have advantages as automotive collectibles. You can’t wear a model or a painting—they can only be enjoyed in a particular setting, be it your office or home. But team gear can be worn whenever and wherever, all year long.
The most sought-after team wear is from Ferrari and McLaren. McLaren is notorious for not making available any of their specially made Hugo Boss items. So, the odd bits that do hit the marketplace fetch high prices, similar to some high-fashion designer wear. Don’t be surprised to pay $250-plus for a t-shirt! But you will look great driving your 300 SL Gullwing or strolling through the paddock wearing one.
Ferrari fans love the red, heavily emblazoned team items—especially those with the Marlboro logos. Ferrari has had ties with several clothing designers over the years, such as Tommy Hilfiger (1998–2001),Fila (2002–2004), and now Puma (2005–present). Since the sponsors often change each year, fans typically want to wear the newest gear, which is always the toughest to get. Usually the most popular items are the t-shirts, polos, caps and pit-crew shirts. But even rarer are the clothing items made for the drivers and owners themselves, such as leather jackets, cashmere sweaters, and monogrammed shirts. Expect to pay big prices for these items, which are usually only available in medium (driver statuesque) sizes.
Buying team gear is like purchasing regular clothing—buy only what you like and what fits well. The newest gear is always the most expensive and the hardest to get, as fans always want to look up-to-date with the most current fashions and sponsors. F1 is all about evolution, and this extends to the collectibles as well.
Typically, fans want brand-new items, and most, if not all, of the gear available for sale is brand new in bags. However, many who own and race vintage F1 cars want period clothing to go with them, and dealers can often find these vintage pieces as well.
Generally, F1 gear holds its value pretty well, considering it is just clothing. (What other used, button-down shirts sell for $250 each, five years later?) But don’t think of it as an investment. Buy it because you enjoy it and so you can get all dressed up for that Ferrari Concours or track event.
Buyers should be cautious if ordering from Web sites or Web auctions, as there are many fakes made in Malaysia, and many disreputable dealers that ship out the wrong items or sizes and do not have refund or exchange policies.
Buy what you like, from whichever team or marque you want to support. There are no rules. Follow your passion! Dealers in team gear can be found on the Internet or advertising in Vintage Racecar. With frequent changes in inventory, you should contact dealers by email or phone for their latest offerings.
Morry Barmak is the owner of COLLECTOR STUDIO–Motorsport Gallery, and can be reached at 136 Yorkville Ave., Toronto, ON, M5R1C2, Canada, tel/fax: 416.975.5442, http://www.collectorstudio.com
The Art of Collecting Automotive Posters
By Jacques Vaucher
Advertising posters date back to the days of the Roman Empire when everyone from food vendors to prostitutes would advertise by carving their names and addresses on the walls. However, it is the French who are credited with creating the modern idea of using a printed medium to promote a product or an event. During the reign of Louis XIV, young men were recruited to join the legions of warriors through colorful and enticing posters placed throughout the country.
Businessmen soon started using the same method to promote their wares, often enlisting some of the best-known artists of the day to convey their message with only a few words, but using a graphic image that captured the passer-by’s eye. By the time the automobile arrived on the scene, this approach was common practice. In 1895, E. Clouet promoted the first recorded auto-race, from Paris to Bordeaux and back, held in conjunction with the first Paris Auto Show. His presentation was an elegantly dressed woman seated in an early motorcar with Paris behind her and a postcard view of Bordeaux at her feet, as she clutched a French flag by her side.
Many of the top artists of the day such as George Gaudy, Jules Cheret and Abel Faivre were attracted to this new and very lucrative medium of advertising. One in particular, Ernest Montaut, soon became a master in promoting all fields of transportation, with his unique style showing off the latest in motorcars, motorcycles, speed boats, aeroplanes and railroad trains.
Soon everything related to the automobile was found on posters in France and in other European countries, with the Italians creating the greatest images. However, the French were still the leaders with companies like Michelin who created Bibendum in the late 1890s, which today—nearly 110 years later—is as popular as ever.
Like the modern-day billboards, these vintage ads were pasted over with new posters, and then they were peeled off and sent to the local dump, lost to mankind forever. However, some lucky posters survived and those are the ones that today, especially those from the late 1800s up to the early 1960s, can be worth from hundreds to tens of thousands of dollars, depending on the event, the artist and the content of the art. But, where do these survivors come from?
When new, the client requesting the poster or the printer, may have put a few away on the shelf and forgotten about them for ages. Others have appeared after being sealed up in the walls or stuffed in the rafters of homes and buildings where they were used for insulation. Rarely were they ever saved to be collectors’ items.
During the 1970s, the first real interest in these works of art was picked up by several auction houses. Afterwards, a few dealers began to search out and find those that had been stashed away for decades.
What passion fuels the quest for one of the advertisements from the past? For the individual, it may be that they fall in love with a poster that they possibly did not even know existed until it was seen. For others, it might be a personal link to an event—the first racing event or auto show, etc. Most importantly, when a poster has been located and secured, care must be taken to preserve it. Once vibrant colors can fade with time. These posters were often printed on the least-expensive paper available, and now that they have survived, it is your goal to keep it for future generations. Proper mounting, preferably on an acid-free linen backing, as well as keeping them from color-fading direct sunlight, are of the utmost importance.
Remember, when in the market for vintage posters, make sure they are originals. With advances in printing processes and the use of computers, counterfeit posters have been found on a more frequent basis. Look for reputable dealers and learn to look beyond the image and the message, but learn to spot the correct materials.
Once you have found your dream poster, with the proper care and maintenance, it will become a very unique work of art that others will admire and desire, and in doing this, will protect and enhance your investment.
Jacques Vaucher is the owner of l’art et l’automobile and can be reached at (830) 864-5040, (830) 864-5078 fax, or visit www.arteauto.com
Collecting Vintage Motorbooks
By Logan Gray
Collecting books related to racing and racing cars is not unlike collecting the cars themselves—it is best done not for investment, but for pleasure. A book, like a car, should be soundly engineered, easy to look at, and most important of all, give you pleasure. If your choices are wise, the value will follow.
Once you have defined your area of interest, try to choose books that focus sharply on a specific subject, be it a car, a race, a track or a history of a particular formula or series. You will soon recognize authors such as Laurence Pomeroy, Karl Ludvigsen, Cyril Posthumous and L.J.K. Sethright who carefully research the subject themselves from original sources as much as possible, rather than rely on existing books or articles written by others and therefore perpetuate the same misconceptions and mistakes. Beware of books sold on the bargain table of your local discount retailer. Like a car, a run of 1,000 is very exclusive; a run of 100,000 says that it was intended for a general audience and will likely never be scarce.
Value can be tricky even in this age of information glut. When Vintage Motorbooks was founded in the early ’80s, we were one of the only automotive antiquarian booksellers regularly printing a catalog and, therefore, became the value guide. Little did most people realize that we were just three guys in Oregon taking our best guess! In the ’90s, Tom Warth printed an excellent value guide book, but the Internet soon replaced it. Today, you can find most books listed for sale on Amazon and other Internet mediums, if you know the specific title. You will find some bargains, but overall you will have a better experience if you buy from an automotive specialist, and don’t be afraid to ask questions. Is this the best book on the subject? Would you recommend related titles? First editions are not favored because following editions will have added and corrected information. If you don’t find a book listed, ask a specialist. Like the car, again, the best and scarcest volumes are often “inside-traded” and are not likely to be advertised.
E-Bay has brought so many books to the marketplace that the value of the majority of out-of-print titles have remained level or actually fallen, while the minority of truly scarce and fine books have continued to rise. Today, we find the hottest subject to be sports car racing in the ’50s and ’60s, on both sides of the Atlantic. The coldest subject, without a doubt, is NASCAR.
A book search site such as abebooks.com can also help you locate books and sellers. Some sellers can be searched by key word or author. A particularly good searchable specialist is tewarthautobooks.biz.
Don’t forget that the specialist bookseller must find his out-of-print books someplace, and your old books may be just what someone else is searching for. A good specialist will be happy to give you an offer for those books you no longer find interesting.
Logan Gray is owner of Vintage Motorbooks, and can be contacted at [email protected], or by phone at (503) 292-7747 (evenings) or by fax at (503) 292-5636.
