Rodin bronze the headliner in Julia's Feb. 6-7 auction

Written by Auction Central News Staff
Tuesday, 20 January 2009 12:25
'L'Eternal Printemps', bronze of nude lovers by Auguste Rodin. Estimate $200,000-$400,000. Image courtesy Julia Auctions.
FAIRFIELD, Maine - James D. Julia Auctioneers will launch its 2009 season on Feb. 6-7 with 1,200 quality lots, including more than 600 works of art. Other key categories include early and Victorian furniture items, folk art, nautical antiques and all sorts of regional Americana.

The sale's star lot, which comes from a private collection, is an outstanding original bronze statue by the famed sculptor Auguste Rodin titled L'Eternal Printemps, depicting two nude lovers in a passionate embrace atop a naturalistic base. This epic sculpture hasn't seen the public marketplace since 1985, when it was purchased by the present consignor through Christie's New York. It is now offered with a pre-auction estimate of $200,000-$400,000.

Other fine bronzes include a rare bronze and ivory figure depicting a lady in draping skirts, reading a book. Well rendered and exquisitely detailed, this signed Carrier-Belleuse piece from a Philadelphia estate is expected to sell for $8,000-$12,000.

The splendid offering of paintings covers a wide array of subjects by many of the collecting world's more sought-after American and European artists. A New England favorite and Julia staple, Emile Gruppe's marine-theme works are considered the finest of the Rockport Gloucester School. This sale presents a rare opportunity to own one of Gruppe's less frequently visited subjects in Water Lilies. Believed to be one of only three known lily pond works by Gruppe, this work exemplifies his finest efforts. It comes to the block with a $30,000-$40,000 estimate.

Other highlights from the great selection of Gruppe works include more characteristic examples such as Fishing Schooners Sadie Noonan & Wentworth in Smith's Cove, a large oil on canvas Gloucester Harbor scene that comes with an estimate of $25,000-$35,000.

Works from other Rockport-Gloucester School artists include contemporary examplesm and this auction will present eight by Wayne Morrell, including Sunlit Lily Pond, estimate: $4,000-$6,000 estimate. Thomas Nicholas' Clearing Storm, Essex provides the viewer a look across a snow-covered shoreline towards the Massachusetts village while clearing blue sky advances from the left. This delightful work carries an estimate of $10,000-15,000.

Several works by Earl Cunningham will be offered, including a marvelous folk art rendition of a large red-roofed covered bridge spanning two green land masses as canoes and schooners fill the foreground. Fresh from a New England home it is expected to sell for $15,000-25,000.

A beautiful Maurice Prendergast mixed-media work is worthy of attention. Housed in a magnificent gesso-decorated gilt frame with title and artist plaque, it comes with a pre-auction estimate of $30,000-$50,000.

Western art will be well served by Don Kingman's 17 Mile Drive, California, 1954, an outstanding watercolor of a marshy area with trees, birds and grasses against a dusky sky. Illustrated in a book on the artist's works and coming from a private Maine collection, it carries an estimate of $10,000-$20,000.

From the Geraldine Gaba Estate of Scottsdale, Ariz., comes 19th-century artist Thomas Hill's Presidio, Early California, a marvelous coastal view of the San Francisco Bay area in its early stages. It comes with an estimate of $30,000-$50,000. Also included is William Keith's Western landscape showing a lake nestled among the foothills with rocky ledges in the foreground. Estimate: $10,000-$15,000.

In the American illustration category the original poster art for a circa WWI "Feed the Children" campaign by Jessie Wilcox Smith is a wonderful example of her work. Depicting a young girl and boy slicing large loaves of bread for a long procession of starving urchins, it is expected to bring $20,000-30,000.

A large selection of Russian artwork includes Ilui Boncha-Tomashevsky's interior scene representing a scene from Moliere's Tartuffe showing a gentleman in a black outfit conversing with a seated woman in a well-appointed room. This masterful work comes with an estimate of $40,000-$60,000.

The second session is a fabulous assemblage from various estates of early American and Victorian furniture, Oriental rugs, silver, nautical items, weathervanes and other folk art. An important 18th-century Philadelphia Chippendale carved-walnut armchair with scrolling crest rail centering an asymmetrical carved shell cartouche comes with an estimate of $18,000-$22,000. A first-rate Philadelphia Sheraton mahogany tall-case clock by Crowley & Farr with molded swan's neck pediment, rope-twist colonettes, and a painted moon-phase dial comes with a $6,000-$10,000 estimate.

Folk art for the landlocked includes numerous weathervanes, such as a rare leaping stag attributed to Harris & Company of Boston. This molded-copper example with zinc ears and antlers is depicted leaping over a fallen tree and shrub. Fresh to the market from a Massachusetts estate and having descended through the family, it is expected to bring $15,000-$25,000.

The auction will also feature numerous fine English and American silver pieces including a Paul Storr covered soup tureen with its original liner, estimate $30,000-$50,000. From the same collection comes a pair of Paul Storr silver covered entrée dishes in rectangular form with scallop shell and leaf decoration. Elegantly engraved with stags and family crests, the pair is expected to make $25,000-$35,000.

Visit Julia's Web site at www.juliaauctions.com. Tel. 207-453-7125.

Sandy Erdman: Memorabilia reveals sad chapters in U.S. history

As the interest in all things collectible rises in dizzying heights, there is no category growing in popularity faster than African-American history.

This growing specialty holds great fascination for a wide variety of collectors from African Americans exploring their roots to anyone seeking insight into the social history of this nation.

African Americana is also known as black memorabilia.

The best description I have found of black memorabilia is that for an item to be considered a black collectible, it must be made in the imagery of a black person or it must be directly attributed to a black artisan. The description can cover a lot of items from the early and many times offensive pieces that depicted the times of slavery to today's collectibles, such as Thomas Blackshear's Ebony Visions; it all fits into that catch-all category of black memorabilia.

Black memorabilia

Most collectible black memorabilia was produced from the 1920s through 1950s, although some collectors seek items from the Civil War era, as well. Some of the most rare and valuable items deal with the nation's period of slavery, such as a Charleston 1834 Porter slave tag, which is valued around $3,065. A servant slave tag with minor dents has been valued around $1,175, while shackles and a Certificate of Freedom can go as high as $1,400. Many see collection of these items as a way to learn about the past or provide a powerful image to help others understand this shameful period.

The popularity and the demand for these objects have risen steadily since the 1970s, as the interest was stimulated by Alex Haley's "Roots."

Finding and choosing items produced by black artists, featured musicals, literary talents, actors, sports figures and collecting items relating to the Rev. Martin Luther King Jr. and now items of President Obama can all fall into a positive light to balance a collection. Black memorabilia are all definitely collectibles now and into the future.

Collectors can't be easily classified, but some categories can be classified, such as fabric textiles, ceramics and postcards.

"Of course, as with all collectibles, the marketplace is constantly at work, and over the past years there has been a fluctuation in the search of black memorabilia, but this may change and the possibility of getting more black memorabilia in by our dealers and more folks coming in to find these items in the upcoming months may change with our new president entering office," says Bernie Dyreson, a dealer at Old Rooster Antique Mall, Rochester.

Who collects?

Black memorabilia is collected for many reasons and by people of all races and nationalities. Although some people consider black memorabilia to be offensive and insulting, it might surprise many to find that notable black celebrities such as Oprah Winfrey, musician Branford Marsalis, Bill Cosby and Whoopi Goldberg are big-time collectors, as is Minnesota Supreme Court Justice Alan Page.

Public institutions, such as the New York Public Library and Duke University also have focused on black memorabilia as a part of their collections.

"Fake reproductions can be found in easily duplicated paper items, textiles, cast iron objects, kitchen items and ceramics," says Dale Goodfriend, dealer at the Antique Mall on Third Street. "As in all collecting, always do your research before buying anything advertised as antique or vintage."

Linda Bucknell, of the Antique Manor in Racine, says one of the best ways to check for reproductions is to do a hands-on and visual check at the store, but "this is not always the case when purchasing on eBay auctions and Web sites."

"Getting to know your dealer and asking for certain items can be a plus, as they we can help in your collecting regardless of the size of your collection," adds Jean Ingvalson, Generations of Harmony Antique Mall.

Sandy Erdman is a Winona freelance writer. Send comments and ideas to life@postbulletin.com.

What Crisis? Collector Car Prices Soften but Don’t Crash

FANS of classic cars often like to think of them as time machines. But the notion has recently taken on an unintended meaning, as prices in some sectors of the collectible-car market have turned the clock back to levels not seen since 2004-5.

All things considered, however, the market showed resilience in the string of auctions in and around Scottsdale, Ariz., this month. The long-predicted free fall in prices did not occur.

And there were some genuine surprises among the individual sales as more than $100 million worth of cars changed hands.

Perhaps the most unexpected results came at the Gooding & Company auction, which flew in the face of expectations and surrounding circumstances by a considerable measure. With $32.4 million in sales, compared with $21 million at last year’s sale, it seemed more like the summer of 2008 than the winter of 2009.

Gooding had the top-dollar sale of the final weekend with a 1960 Ferrari 250 GT California Spider, a late consignment that brought $4.95 million. And while seven-figure lots had become commonplace across Arizona over the last several years, this year there were just seven such sales and all were confined to Gooding, the last of the major auctions to get under way.

With the no-sales of some big-ticket cars at the RM Auctions sale and the still unfurling economic crisis on the minds of attendees, the mood at the beginning of the Gooding auction was tense — think back to the first “Saturday Night Live” broadcast after 9/11.

The $1.4 million sale of a 1929 Duesenberg Model J Dual Cowl Phaeton, just nine lots in, had the same ice-breaking effect as when Lorne Michaels, the show’s producer, asked Mayor Rudolph W. Giuliani if it was all right to be funny.

Mayor Giuliani’s impeccably timed response: “Why start now?”

David Gooding, chief executive of Gooding & Company, said there was still a strong market for good quality cars that were priced fairly and truly for sale. He did allow, however, that prices were down somewhat in the $250,000-$850,000 midrange of postwar European cars, although he sensed no similar weakness in prewar American cars in that range.

At the moment, vintage cars seem to be showing more strength in the market than other collectibles. Leigh Keno, a host of “Antiques Roadshow” on PBS, said that in general, presale estimates for American decorative arts sold at auction this season have been as much as 50 percent lower than they would have been two years ago. Mr. Keno said, “There is a sense that the market will reward more conservative estimates.”

At RM, the star car, a 1963 Chevrolet Corvette Grand Sport — one of just five examples of a Corvette racecar whose incredible potential was cut short by General Motors’ decision to stop supporting racing — didn’t sell during the auction. Nevertheless, RM sold a very respectable 83 percent of its lots for a total of approximately $18 million.

According to Ian Kelleher, RM’s chief operating officer, the sale attracted a record number of bidder registrations for the event, and a number of cars that could be considered “sensitive” in the marketplace sold quite well. An example of the latter was a 1967 Ferrari 275 GTB/4 Berlinetta that brought $918,500. While this was a bit less than some sales before October 2008, the price was a healthy increase over the $816,750 that RM got for a similar car at a May 2007 auction in Italy.

Given the economic circumstances, there was great interest in cars priced under $100,000 that would also serve as summer weekend drivers. Cars that are easy to find parts for, and eligible for events like vintage rallies and tours, did well.

RM, for example, sold a 1967 Alfa Romeo Duetto Spider — similar to the car driven by Dustin Hoffman in “The Graduate” — for $46,200. Gooding sold a 1954 Nash Metropolitan hardtop for $19,800, Barrett-Jackson garnered an astonishing $59,400 for a 1979 Pontiac Firebird Trans Am and Russo & Steele managed $49,000 for a 1961 Triumph TR3A. All were at the least strong results, and perhaps records.

Robert Pass of St. Louis was the consigner of the 1961 Triumph. Mr. Pass has been collecting cars since the late 1950s and said he was not aware of a TR3 ever approaching $50,000 at either a public auction or in a private sale. Mr. Pass credited Russo & Steele’s arena-style format, and the enthusiasm of Drew Alcazar, the company’s owner, for pushing the car over the top.

According to Craig Jackson, chief executive of the Barrett-Jackson auction house, his company anticipated the demand for more accessible cars and purposely adjusted its offerings to favor cars in the $50,000 to $100,000 range. This was reflected in the overall sale figure of $63 million, down some $20 million from last year, but a bit higher than the company’s 2005 results of $61 million.

Mr. Jackson said that his company worked hard with consigners to ensure that there was a “meeting of the minds” where sale expectations were concerned. Nevertheless, there were notable high sales, including the second 1957 Chevrolet produced, a two-door from the entry-level 150 series with just 46,133 miles, that brought $165,000. Barrett-Jackson also continues to be the sale known for drawing new people into the hobby, with 70 percent of registered bidders being first-timers.

One of the notable aspects of the Barrett-Jackson sale was the sale of 214 cars from the General Motors Heritage Collection. Most were prototypes or concept cars and included the striking 1996 Buick Blackhawk. Built to celebrate Buick’s 100th anniversary in 2003, it recalled the granddaddy of all design studies, the striking 1938 Buick Y-Job; the Blackhawk sold for $522,500.

Nearly all the cars in the G.M. offering were sold on either a bill of sale or a scrap title, according to Barrett-Jackson. The former, Mr. Jackson said, can never be legally registered for road use. Fortunately, the Blackhawk was sold on a scrap title so it can be registered and driven on public roads. It would be a shame for it to spend its life behind a velvet rope.

Aside from the Buick Blackhawk sold by Barrett-Jackson, few concept cars were offered in Arizona. An exception was the 1954 Dodge Firearrow III sold by RM for $880,000. While some 1950s dream cars look as if they took too much styling inspiration from the Air Force’s latest interceptor, the Firearrow was exquisite in every way.

Perhaps the best buy of the G.M. collection was a 1989 Corvette ZR2, a one-of-a-kind prototype with a big-block V-8 that sold for $71,500. Tom DuPont, a Florida collector, discounted those who tried to tie the timing of the G.M. sale with the company’s dire financial condition. Mr. DuPont said he thought G.M. was simply managing its collection as many private collectors manage theirs, eliminating some cars to make for a more orderly display of the remainder.

There is certainly some common ground between the perceptions of Mr. Gooding and Mr. Jackson in the collector car market, and Mr. Keno in the antiques world. Mr. Keno said he believed that the midrange of the American decorative arts market was the softest now, as is the case with the collector car market. “However,” he said, “the great things will always do well.”

Make a Resolution to Protect Your Collectibles

Whether collecting rare coins, dolls or antique guns, there is one thing collectors all have in common: they are passionate about their collection. However many have not taken the steps necessary to protect their personal passion and significant investment.

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45% of Americans usually set New Year's Resolutions but only 8% of people are successful in achieving their resolutions
insuring today's treasures from tomorrow's tragedy.
Whether collecting rare coins, dolls or antique guns, there is one thing collectors all have in common: they are passionate about their collection. However many have not taken the steps necessary to protect their personal passion and significant investment.

Many collectors are under the false assumption that their collection is covered by their homeowners policy. Designed to protect personal property, homeowners insurance is probably insufficient to safeguard collectibles. Homeowners insurance may limit personal property coverage to a percentage of the residence value (50-70%), limit the amount payable for theft of some valuable items, and not cover losses due to flood, hurricane and earthquake. Finally, claims settlement may be based on actual cash value rather than the replacement value of the collectible. The best way to protect a collection is with a separate policy specifically designed to insure collectibles.

Here are some other great ideas from the National Crime Prevention Council (www.ncpc.org):
- Keep an inventory with detailed descriptions of the items--type, title, date or period, materials used, measurements, inscriptions, and any other distinguishing features. Then, keep this list in your bank's safety deposit box with other important records.

- Save receipts showing how much you paid for an item.

- Videotape or photograph your items or full collection. If you're videotaping, audibly describe the item, when you bought it, and how much it cost.

- Get an official appraisal of jewelry, art, antiques, and collectibles; update that appraisal every two to three years.

- If your collection is displayed in your home or is housed in a storage area, review overall security measures and fix any holes. Check over the collection regularly to make sure all the pieces are still there. If you have strangers working in and around your home or storage facility, check their references.

- Don't forget to do your own due diligence when purchasing pieces to add to your collection as well. When buying antiques or artwork, stick with reputable dealers and auction houses that perform due diligence information. Check the Better Business Bureau for complaints and carefully review sellers' feedback profiles on online sites like eBay before you buy. Sellers should be able to guarantee that the art is not stolen and that they have researched the piece's chain of ownership or "provenance." An artifact's provenance is also a good way to check on the piece's history, rather than just relying on the certificate of authenticity.

Be one of the 8% of Americans that achieves their resolutions and resolve to protect your collectibles today.

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Since 1966, Collectibles Insurance Services has been "insuring today's treasures from tomorrow's tragedy." As a company founded by fellow collectors, we understand that your collection is worth so much more than just money. And as experts in collectibles insurance, we know standard homeowners insurance alone isn't enough to replace your treasures.

Early brass relief button with houndButton, button, who's got the button?

OK, I couldn't resist that silly saying, I know it's old but I don't know where it originated. If anyone out there does, I'd love to hear it.

Seriously though, since I've recently consigned one of the nicest collections of buttons I've ever had, so of course, I figured I'd have to write about about it.

I'm not sure how manly getting excited over a such an array of antique buttons is, but wow, there's some great stuff here.

Fortunately for me, these buttons, like most things will stay in my hands just long enough for me to catalog them, learn something, and teach about them, so no one can really prove that I light up when I handle them.

These days you gotta get what juice you can out of an article, and since I'll be selling these, and HAVE sold many button lots in the past, I can do an article and promote the lot I'm selling at the same time.

To start the story of this particular button collection I have now, we have to go back to the North Adams trust I started liquidating on eBay a little over a month ago. Bad weather and power outages has be about a week behind schedule on this lot, but that's good news for those who care to learn about what's in it.

I'll start off with some of the ones that are already listed on eBay now: there are some excellent early brass relief buttons of a hound, fairy tale themes and more.


Click here to see what some of these are selling forFrom antiquebuttoncollecting.com

When it comes to collecting, nothing really beats antique buttons. Button lovers get crazy about their subject, and there are many online sites to wander through by searching such items as antique buttons, collectibles, antiques and Victorian buttons.

There are button clubs, button conventions and button fairs, not to mention the fact that some buttons are truly valuable treasures, for the savvy huntress of antique buttons, collectibles, antiques and thrift shops.



Single button $28.99
Many buttons before 1912 will sell for good money separately.



These are up for auction right now.
One of the most popular genres in any niche, be it buttons, clothing, jewelry, art, and decor, Gothic is hot, hot, hot. So I was more than happy to scan these and send them to auction. Those crazy Edwardians had some flair!

If you go in for a closer look, pay attention to the Marcasite cuts and the jet glass examples. (Marcasites, are metal cut relief designs which mimic stones, I've always been fascinated by them. Jet, glass is black, as in jet black. Many times these will be embellished with silver & gold decoration over carvings)






Shank buttons have a small ring or a bar with a hole called the shank protruding from the back of the button, through which thread is sewn to attach the button. Covered buttons are fabric-covered forms with a separate back piece that secures the fabric over the knob.

Flat or sew-through buttons have two or four holes punched through the button through which the thread is sewn to attach the button. Flat buttons may be attached by sewing machine rather than by hand, and may be used with heavy fabrics by working a thread shank to extend the height of the button above the fabric.

Worked or cloth buttons are created by embroidering or crocheting tight stitches (usually with linen thread) over a knob or ring called a form. Mandarin buttons are knobs made of intricately knotted strings. Mandarin buttons are a key element in Mandarin dress (Qi Pao in Chinese), where they are closed with loops. Pairs of mandarin buttons worn as cuff links are called silk knots."
This information found: Wikipedia Encylopedia

Some buttons can fall into several different collector catagories, such as the authentic Civil War and Civil War period buttons I'll be auctioning on eBay shortly from the trust mentioned above.

In this collection there are "enlisted" buttons, cuff buttons and more. There are also some GAR buttons, which are from the Grand Army Republic a post Civil War Veterans group and many others including one from the Harrison Reform which I am still researching.

Many Civil War button collectors have buttons dug from actual battle sites such as:

Adairsville Georgia May 17, 1864
Albemarle Sound North Carolina May 5, 1864
Blair's Landing / Pleasant Hill Landing Louisiana April 12-13, 1864
Camp Allegheny / Allegheny Mountain West Virginia December 13, 1861
Campbell's Station Tennessee November 16, 1863
Jackson Tennessee December 19, 1862
Lynchburg Virginia June 17-18, 1864
Tupelo / Harrisburg Mississippi July 14-15, 1864
Wilson's Creek / Oak Hills Missouri August 10, 1861
Wyse Fork / Wilcox's Bridge North Carolina March 7-10, 1865
Yellow Bayou / Norwood's Plantation Louisiana May 18, 1864
Yorktown Virginia April 5-May 4, 1862







All 3 gold Civil War buttons posted above will be posted at my eBay auctions soon along with many others.



One of the best sources I've found online for button information is run by Sisters Vintage Button Accessories, click here to go there.

Buttons fall into 4 basic categories: Metal, Plastics, Natural and Glass


Metal buttons:


Pewter: In the late 18th & early 19th centuries, pewter was used for buttons in men’s fashions, but by 1830 the brass button replaced the pewter button. Pewter buttons appeared again in the late 19th century, however, this time in ladies’ fashions.

Silver: Silver buttons became fashionable in the mid 1800s through the early 19th century. In the 19th century silver buttons were large and made for men’s overcoats.

Brass: An alloy of copper and zinc, brass has been used to manufacture more buttons than any other material. The brass button industry peeked between 1820 & 1850. This period is often called the “Golden Age” because of the superior quality of these buttons.

Plastic buttons:


Celluloid: First used as a substitute for tusk ivory and wood. Buttons constructed with celluloid parts appeared in the 1897 Sears & Roebuck catalog. These buttons are rather fragile.

Bakelite: Bakelite buttons became very stylish about 1940 to 1950. They produced a fresh warm feel, the color combinations were delightful.

Lucite: Lucite, the trade name of synthetic thermoplastic acrylic resin, was used to make buttons in the mid 1930s. Lucite was produced by DuPont Plastics in Arlington, New Jersey. During World War II, Lucite was used to make gun turrets as well as other practical home items.

Natural buttons:


Wood: The earliest surviving wooden buttons are smooth, turned discs mounted with nailhead shanks made during the 18th and early 19th centuries.

Vegetable Ivory: First presented at the 1862 Universal Exposition in Paris, “vegetable ivory” buttons were carved from the corozo nuts of the tague palm. The material resembled ivory, therefore “vegetable ivory”. The material was so dense, the dye would only penetrate the surface layer, the interior remains uncolored. Production reached a peak between 1870 and 1920.

Hard Rubber: In 1839, Goodyear secured a patent for vulcanization, a process using extreme heat and sulfur with hard rubber to form products. One famous rubber button was the “Anchor” design with border stars which was originally manufactured for Navy peacoats.

Mother-of-Pearl: Pearl buttons are made from the nacreous (pearly) lining of shells of various marine or freshwater mollusca found principally in warm waters. Freshwater pearl buttons have less iridescence than ocean pearls. Eighteenth century pearl buttons were large (approximately 1-1/4 inches) and considered the most beautiful ocean pearl buttons ever made.

Shell: Shell is a term used by American collectors to differentiate buttons made from mollusca shells rather than nacreous (pearly) linings. The earliest buttons were cut from the white layer, the grey or brown portions were considered to be inferior. It was not until after 1800 that brown or grey shells were used.

Glass buttons:


Passemeterie: Named for the 18th century design of fabric buttons, these buttons were faceted pieces of black glass soldered or riveted to a metal back to form an open work design. Quite rare.

“Jet” and Black Glass: Prince Albert of England died in 1861 and Queen Victoria, the fashion setter of the times, went into mourning. Her mourning jewelry and buttons were made of “jet”, a light weight, highly fragile, expensive mineral mined in Whitby, England. Overnight, the black glass industry became highly active. Black remained the predominant fashion color for over two decades. True “jet” is rare and feels warm to the touch.

Luster Finishes: Luster is a metallic sheen applied to black glass buttons for a wonderfully, unique look.

Calico: Calicoes refers to China buttons painted with the designs of the calico fabric. “Calico” fabric made by the Calcutta Indian Company about 1840.

Molded Glass: Fancy g lass buttons of the late 19th century were molded clear with paint or transfer designs applied to the back.

Moonglow: Moonglow buttons have opaque bases which give the illusion of swirl or eye in the center and made between 1940 and 1960.

All it all, as an auctioneer, the thing I love about buttons is the wide market appeal they have to the various groups of people that collect them for so many different reasons. Whatever your reason for button collecting, they are rich in history and are a classic collectible, and the classics are always revered in the marketplace.

Thanks for reading,

AW

Toy maker's passion for cast-iron toys is reflected in his unique profession

By Reed Fujii
Record Staff Writer
January 04, 2009 6:00 AM
Yes, Virginia, there is a toy shop where skillful hands turn out imaginative cars and planes and horses and trains.

But it's not at the North Pole. Actually, it's just little way north of downtown Lodi.

There at Iron Man Toys, owner Arnie Prince - who used to make his living repairing and restoring dented and damaged cars and trucks - repairs, restores and replicates collectible cast-iron toys. And don't think this is strictly kid stuff. Some of the replicas he makes go for $800 a pop, and many of the antiques he works on may likewise fetch hundreds or thousands of dollars from avid collectors.

"I have the funnest job in the world," Prince said, reflecting the passion he has for cast-iron toys, as a collector himself, as well as a dealer and restorer.

"The whole thing is an intense process," he said as he explained some of the techniques involved in various repair jobs.

In some cases, the work may simply involve replacing a missing wheel or welding a bit of metal back together.

But he may also re-create missing parts from scratch, perhaps using a twin of the toy he's working on to create a mold. He then takes it to Sunset Foundry in Valley Springs where a new part is cast out of molten iron.

Parts then need to be trimmed, ground down and fitted, then buffed and polished as they once might have been in a 19th- or 20th-century toy factory, then painted or nickel plated. A final step in many cases is aging the part or toy - purposely chipping the paint or exposing shiny surfaces to chemicals to replicate a patina of age and wear.

"That's what all the guys want. They don't want something all shiny and new," Prince explained.

There is a strong, ongoing market for collectible cast-iron toys, largely produced from the late 1800s to the 1940s, Prince said.

"Forty-one was basically the last year they did production of cast iron because of the war," he said, of course referring to World War II when metal for guns, cannons, ships and tanks was at such a premium that patriotic metal collection drives were commonly held.

Some of the toys were made even earlier, however. At the Iron Man Toys shop, Prince picked up a monkey-and-lion coin bank - users would place a coin in the monkey's paw then push a lever to watch it drop into the lion's mouth - and flipped it over to point out a patent date of 1783.

And while Prince also buys and sells antique outdoor signs, does freeform metal sculpture and recently started collecting cap guns, demand for cast-iron toy repairs keeps his one-man shop plenty busy.

"If I had a lot more work, I probably couldn't handle it," he said.

There is a strong market in collectible cast-iron toys, said Noel Barrett, an antique toy expert who has applied his knowledge as an appraiser on PBS's "Antiques Road Show" and is the owner of Noel Barrett Antiques & Auctions Ltd.

Barrett, who's paid Prince to repair a number of his own items, said there is one Pennsylvania business with four or five employees that specializes in repairing collectible sheet-metal or tin toys. And there's a shop in Baltimore that, like Prince, does its own iron castings.

"It is sort of remarkable there is this infrastructure supporting the hobby of collecting antique toys," he said, noting, "There are a lot of people out there that collect antique toys."

And some of them will to spend a lot of money to support their hobby.

Barrett said a cast-iron toy motorcycle in the original box recently fetched $50,000 and added, "I just had an auction where I sold Marklin trains for $30,000."

Of course, such rare pieces might lose value if repaired or restored, but for badly damaged items a well-done repair may enhance the value.

"Each case is totally different," Barrett said. "The most important thing is not to do anything until you know what you're doing."

Dale Kelley, editor and publisher of Antique Toy World magazine, said Prince is one of a handful of artisan toy restorers in the country.

"It's a fine art," said Kelley. "When it's done, you shouldn't be able to see the repair."

He said Prince and his few peers provide a service much like restorers who work on fine-art oil paintings and marble sculptures.

"A repaired toy or a restored toy is not worth as much as one mint out of the box," he said, but as such perfect examples become rarer, collectors more readily accept restored pieces.

Kelley, whose magazine has taken advertising from Iron Man Toys for years, added collectible toy values have certainly held up better than financial securities over the past couple of years.

While prices for more common toys are a little soft, rare collectibles continue to draw increasing prices, he said.

"I think a lot of these people that lost in the stock market wish they had their money in toys."

Making money, though, is not the central focus for Prince and his Iron Man Toys.

He recalled offering toy repairs as a sideline to his body shop nearly 20 years ago.

"It just took over," Prince said. "I liked doing it so much I just got rid of the body shop."

Not even sure he could make a go of it, he spent the first 10 years or so traveling to major toy shows, primarily in New York, Pennsylvania and Illinois.

Eventually, he got too busy to spend that much time on the road and now might attend one or two West Coast shows a year.

"I like toys; I like working on toys," Prince said. "I don't concentrate only on the money. I concentrate on doing the job right and trust if I do the job right, I'll get paid for it."

Contact reporter Reed Fujii at (209) 546-8253 or rfujii@recordnet.com.