In my last column, I wrote about discovering a copy of the auction catalog for Rich and Joan Smiths collection that was sold by Christies back in the 1990s. I had noted how the collection held some amazing rarities that set new highs in the auction market. Certainly, the furniture and pottery received special attention, and both were areas of interest to the Smiths. One area of their collection that did not do so great was the textiles. Rich and Joan loved beautiful Pennsylvania German textiles in great condition. I share that same passion and acknowledge the challenges of collecting that way, particularly since excellence in condition is truly rare. A large number of the textile items in the sale were decorated Pennsylvania German hand towels (Handtuch), sometimes called show towels. These were, to generalize, an elongated strip of fine linen that could be embroidered with cotton or silk or wool. Often they had beautiful lace-like work that was accomplished by cutting and tying threads to create elaborate openwork patterns. I love decorated hand towels, and we had done an exhibit of them at the museum in Lancaster (the former Lancaster Quilt and Textile Museum). The prices seemed to be increasing, and so I remember sitting at the Smith sale and being amazed at how soft the prices were. In my naivet, I thought the most elaborate and best condition towels should bring the same price as a similar quality sampler. What I did not understand was that most people could find wall space for an 18-by-24 inch sampler but not for an 18-by-40 inch long towel. And to make matters worse, some of the best decoration on the towels were done at the bottom of the fabric, making viewing them nearly impossible. So the prices on the towels were a few hundred to perhaps $1,500 and reflected the reality of how a collection could be exhibited. Some things just have limited display opportunities. Similarly, the quilts did pretty well in price, but the woven coverlets, usually earlier in date, brought pennies on the dollar. Coverlets have never generated the same excitement that quilts did. The auction had high and low spots for sure. The Schimmel tiger was an amazing object, although my copy of the catalog (not owned by me originally) was annotated with comments about the condition and repairs to the carving. The wrought-iron hinges, on the other hand, unless really spectacular, did not do so well. In looking at the iron, it was clear that the Smiths brought a modernists eye to their collection. The simple sweep of a rams horn hinge clearly appealed to them based upon the incredible number in the sale. And yet most brought very little money. Old auction catalogs are filled with hopes and dreams. They represent the market at a given place and time. Occasionally, that time is one where the market is very strong and the prices set world records. Other times, it represents value for the smart buyer who is able to acquire items below market value. So the next time you are out and spot an old catalog with prices realized inside, buy it and take it home to relax and refresh your memory about how things used to be. Born to collect should be the motto of Peter Seiberts family. Raised in Central Pennsylvania, Seibert has been collecting and writing about antiques for more than three decades. By day, he is a museum director and has worked in Pennsylvania, Wyoming, Virginia and New Mexico. In addition, he advises and consults with auction houses throughout the Mid-Atlantic region, particularly about American furniture and decorative arts. Seiberts writings include books on photography, American fraternal societies and paintings. He and his family are restoring a 1905 arts and crafts house filled with years worth of antique treasures found in shops, co-ops and at auctions.