Nazi Collecting... In Russia!

For the benefit of those collectors contemplating a trip to the former Soviet Union to buy German relics, I would like to relate some observations I had during a recent (1992) tour of duty in St. Petersburg and Moscow.

I had assumed the Russian collectors would be ignorant of western prices and demand, and on this point I was wrong. Most serious collectors had western reference books and pricing guides (a subscriber told me that when trying to buy Nazi items from an antique market in East Berlin, before the wall came down, the dealer pulled out a copy of Der Gauleiter to use in justifying his price! ed.) and asked top dollar for their items. On Sundays in St. Petersburg, a 75-100 table military collectors mart takes place, where you can buy anything from current Russian uniforms to Iron Crosses. The mart serves as a meeting place for serious collectors, who don’t bring their better items, but rather invite you to their homes to view their collections. They are very proud of their collections and justifiably so some of these collections looked like they were airlifted from the MAX show. Most of their buying trips are to the Baltic States, where friends and contacts locate and hold items for them. I saw beautiful helmet covers and uniform insignia, including nice cuff titles, most of which allegedly came from Estonia.

Replicas are common, mostly poor quality medals and badges. However, they make some excellent uniform upgrades, and they have the time and expertise to turn a standard Army tunic into an excellent SS. Be very careful when buying, they will not usually let you return an item even if arrangements were made, and they want absolute proof it’s a fake of has been tampered with. They are quick to point out many "variations" exists and many obviously re—worked helmets are “just like Ivan found in the bunker" or "Misha brought home. For me, the scariest replicas were "KURLAND" cuff titles. These were supposed to have been locally produced and were well made and embroidered on the silver/white strip. They were all dirty, aged and cut short about four inches on either side of the letters. They looked prefect... all 300 of them! Once again, they are keenly aware that WW2 was fought in their back yard and sometimes use that fact to their advantage when trying to justify a bad piece, i.e., "many of our SS daggers have leather scabbards, as the metal scabbards froze to the lower crossguards".

The bunkers and defenses around St. Petersburg are not completely picked over, and
the brave of heart can go hunting with local collectors. German divisional cemeteries are not off-limits and the Russians are not respectful in this regard, so don’t be surprised to see them popping the dogtags off fallen log crosses or digging in the area. The swamps have preserved large amounts of field gear and weapons and the Russians know how to retrieve it. You would not believe the condition of some of these items. I saw an MG-42 tripod with all the leather intact and a G-43 that you could not tell had been submerged. lf you do choose to go hunting in the woods, go with someone who had done it before and be careful! Landmines were never completely cleared and considerable ordnance is still around. Some museums will sell items outright, as they do not have the same custody restrictions we do.

Museums served as staging areas for much captured military material, sooften they have dozens or hundreds of the same item. The local collectors will know who sells what, but either way try to get a tour of the storage room(s) of the military museums. The museum staffs are friendly towards Western collectors who are doing research and will give you a tour.

Remember, any pre-1945 items you purchase is considered an artifact and can not be legally exported. However,the Russian customs agents do not open most suitcases. If they do find a relic and recognize it, they will seize it unless you bribe them, and I’m not talking cigarettes. Give them $10.00 (about a month’s pay) and they will usually close the suitcase. The bottom line is... Do not get into an argument with the Customs people... ask for a supervisor and explain that you did not understand the rules, then bribe HIM! If this all sounds a bit shady, remember this is the way the Russians have been making their crippled system work and it is the accepted way of conducting business.

Russians prefer hard currency to trade items and the years of bargaining just to eat gives them an edge in negotiations. Deals are best made in Russian, but they also know the German word for many items or details and "pointy-talky" will suffice. Depending on the collector, they will trade for U.S. items, but there appeared to be a lot of current Western gear around, so don’t expect them to jump for your old utilities.

Generally, Russian collectors are serious about their hobby,will informed on prices, and eager to deal with you. As withus, they have their share of dishonest individuals and it is hard to convince them of some of the basicrules of authenticity which we in the west believe to be true. Be flexible, don’t be startled by their business/collecting methods, and err on the side of caution before buying anything. Good luck!

Robert G. Ensley U.S.M.C, "Nazi Collecting...In Russia!", Der Gauletier, 1993

The "Chase" for Veteran War Booty

"Whoever serves his county well has no need of ancestor's" -voltaire

A very interesting form of collecting militaria is to assemble as many items as possible which belonged to the same individual. The Germans label this grouping a Konvolut.

An excellent source of military memorabilia groupings is the families of the original combatants. While the families of the Allied officers and enlisted men who participated in World War II provide current-day researchers and collectors with a plethora of material, an often overlooked source of German military artifacts is surviving Wehrmacht soldiers and their families. It has been the author's experience that nearly every German family has something tucked away in their house that was left over from World War II. Needless to say, articles acquired directly from a German family do not constitute "war booty,'' per se, since the items do not represent ''spoils taken from an enemy in war".etc. Also, worthy of mention is the fact that many German family members are reluctant to admit any family connection to World War II and the Nazi regime.

Obviously, for sentimental reasons, many German families desire to keep what they have available within their own family structure. However, in many cases, the combatant is long since dead, and his surviving family members prefer the money to the sentimentality.

One such family was the descendants of Luftwaffe Knight's Cross Winner Oberleutnant Willi Dous of Passenheim/ostpr. This example was selected for inclusion in this reference, as the Dous Konvolut vividly represents the magnitude of how much material belonging to a single individual may still be acquired. All of the items listed below belonged to Oberleutnant Dous and were purchased from the family who now lives in the vicinity of Koln, Germany. Leutnant Dous, a veteran of the Spanish Civil War, was awarded the Knight's Cross on 6 July 1941 and was declared killed in action on 17 August 1941; all items remained in the family's possession until purchased by Johnson Reference Books (JRB) in 1998. The grouping consists of the following items and will represent what is, undoubtedly, one of the most complete Knight's Cross recipient groupings available on the collector's market today. The research possibilities with a nice, complete grouping like this are endless.

Personalized 2nd Model Luftwaffe Dagger Belonging to Lt.Dous.

Rich. Plumacher Sohn (triangle inside double oval) trademark. Aluminum hilt filings show dark age patina with excellent detail to oakleaf pommel and eagle crossguard. Pinned to the obverse crossguard is a beautiful miniature Spanish Cross in Gold with swords. It is interesting to note that the miniature medal is moveable until the dagger isinserted in the scabbard, at which time the medal is locked in place. Dagger is complete with near MINT set of deluxe hangers with leather tabs as well as the original 23cm portepee. Also included with the dagger are a set of Oberleutnant Dous' collar tabs, slip-on shoulder boards both with yellow backing, and an early bullion droop-tail breast eagle which has been attached to a uniform.

Thomas M. Johnson, "World War II German War Booty, Vol.III", Author Published, 1998

Johnsonreferencebooks.com

About Tinnies

The use of commemorative pins and badges by the Nazis was an adaptation, as the manufacture of small metal devices for use on walking sticks (Wanderstocke), on hats and on jackets predates the confederation of Germany itself. Many very old examples may yet be found. Quite naturally, these kinds of badges evolved just after the introduction of firearms in Europe as a prize for shooting contests. They had been used as souveniers long before the first Nazi, and were sold by inn-keepers in places like Berchtesgaden, Lourdes, St. Wolfgang, etc., to tourists and pilgrims.

Wanderstock badges are still extremely popular today throughout Continental Europe, and most arestill being made by firms that made pins and badges during the Nazi years. Dies for Nazi badges are still kept in storage in the die rooms of many of the old factories in East and West Germany and are highly prized by collectors. Centers for production of this type of insignia before, during and after the Nazi period were die making areas like Ludenscheid, Schrobenhausen, Munich, Dresden, Vienna, Leipsigand Berlin.

The badges utilized by the Nazi party and its various sections and dependent organizations had two principal purposes. The first purpose was commemorative. The badges were a symbol of achievement by the party, Whether or not the wearer felt any sense of achievement was not important so long as the wearer recognized that without the party there would be no event or achievement to symbolize with a badge. In this respect the badges fulfilled an important propaganda and organizational purpose.

The second purpose of many of the badges was to raise money. As far back as 1920 the Nazi party had charged an entrance fee of 1 Mark to attend ordinary beer hall meetings of less than 100 people. Most of the badges shown in this book were sold to raise money to offset their cost, and thus the cost of the propaganda.

Somehow, the name ''tinnies'' has been applied to these badges and pins by collectors in the United States, although the reason for the name is a mystery. They are not "tinnier'' than belt buckles, service theatre shields (Kuban shield, Narvik shield, etc.) or many other items of auxiliary insignia from any country. In fact, the name "tinnies'' is ridiculous since a goodly percentage of the pins and badges were not even made from metal. Some are beautifully made from glass or ceramic (particularly when the city or area involved was known for glass or ceramic crafts), some are embroidered, and some are made by the cloisonne or hard-fired glass technique. Those that were made from sheet metal were very often given an artistic finish.

By examining the symbolism and the lettering on the badges illustrated, a collector can quickly identify them. With the help of the Abbreviation list on page 138 and the German-English Glossary on page 136,any interested person should be able to break the code. The obvious repetition in symbols or wording makes the badges easy to categorize by type.

The National Socialist People's Welfare Organization (Nationalsozialistische Volkswohlfahrt-NSV) is an excellent and well documented example which perfectly explains the process by which pins and badges were made, distributed, sold, and how the profit generated was used.

The NSV was organized in 1933 and replaced the former Social Welfare service which had been established by Bismarck and had long since lost the confidence of the people. The Nazis decided it was time to establish a new system, ''based on the traditional union between the people and their native land and on the hope that by uniting the people in one folk community where class distinctions play no part, it may be possible to find a solution to the social problem in a synthesis between people and State.''This concept was carried to action by making charity obligatory and by publicizing the fact that as long as one individual was suffering, everybody would have to suffer to some extent.

In practice this meant every working German would have to contribute not only a portion of what he earned, but also part of what he intended to eat and wear to the NSV for redistribution to others. The NSV was responsible for Winter Help Work (Winterhelfwerk-WHW) and Mother and Child (Mutter und Kind) organizations, and worked closely in the pursuit of its purpose with the Central Committee of the Evangelical Church for Internal Missions, the Catholic Charitable League, the German Red Cross, the Reich Midwives' Association, the Association of German Nurses, the National Socialist Nursing Sisterhood and other groups.

Starting with a few hundred workers on 3 May 1933, the NSV grew to a combined force of paid and volunteer workers numbering over 6,886,000 by April 1937. These workers were involved in the collection and dispersal of surplus of all types, projecting and organizing the efficient distribution of essentials like coal, wood and peat, preventing the taking of excess profits from the sale of limited resources like food and fuel (60categories) and the collection and accumulation of cash. Every month, under NSV control, every German housewife was required to buy 500 grams (about one pound) of some food commodity, according to her means, and donate it to WHW. All families were restricted to a one-course meal on Sunday evenings, traditionally the biggest meal of the week. The cash equivalent of the courses not eaten was donated to the WHW. Restaurants collected for many full course meals and donated the portion saved by serving simple single-course meals. This portion was stipulated in published WHW schedules. In addition WHW operated lotteries, and received a quota of all wild game shot in Germany.

Originally, the idea of WHW contribution badges was conceived to give employment to people who could hand-make the products and thus earn a living at a craft. This process continued until the demand exceeded the available supply and mechanization occurred. Strangely, these early hand-made badges are generally less expensive as collectors items today, than the mass-produced metal stampings made in later years.

In Reher's booklet he says, "whenever possible WHW places its orders for Collection Day badges in distressed areas (of Germany)".

"Street collections by members of various party organizations are held once a month and badges that have been manufactured in these distressed areas are then sold for the equivalent of two pence (US $.05) each. Several millions of these badges are sold. An average of one half-penny each is paid for their cost. The badges themselves vary in design and material from one month to another. They are made of lace, ivory, porcelain, amber and artificial flowers. As time went on the designs have become more and more artistic and are now objects of interest to collectors.

"No badges are sold when the Party and State chiefs make their annual collection on the Day of National Solidarity. This Solidarity Day is another exemplification of the community of feeling which now exists between the ruling authorities and the bulk of the population. A steady increase in the amounts collected on this day throughout the whole Reich is shown in the returns for the last three years. These were, respectively: 4,022,000 Marks for 1934, 4,085,000 for 1935, and 5,662,000 Marks for 1936. The amount of money collected on National Solidarity Day in 1937 was 8,071,180 marks.

"The word Thing is archaic German for "assembly", and the Nazis revived it and the concept of the Thingplatz or Thingstatte (meaning "festival arena") as a part of 20th century German culture. Local communities were encouraged to erect a Thingplatz and the Nazi party was responsible on a local level to see to it that entertainment and propaganda were dispensed there. Thing badges are occasionally encountered, although the Thingplatz system was not a huge success.

Readers of this book that do not speak German should realize that in the German language the word propaganda has none of the negative connotations associated with it in English. It means something which is done to publicize. In his foreward to the book ADOLF HITLER, Pictures of the Life of the Fuhrer, published in 1936, Joseph Goebbels wrote, "There have been many misunderstandings throughout the world and even today in Germany, about the definition of propaganda. As these misunderstandings are deeply rooted and based on prejudices, they are difficult to correct. This is inspite of the fact that since the end of the war (WWI) the German people have been victimized by intense foreign propaganda. In this short time propaganda has been shown to be a political tool of the first magnitude. We do not need more proof than to be aware that the Germany of the Kaiser collapsed under the attack of Marxist propaganda, and that the Marxist Democratic Regime could only be overthrown because the National Socialist propaganda proved to be of better quality and inspiration."

"But propaganda must be mastered perfectly. It is of no use to command a few smarties from time to time as needed. It requires as do all great arts, specially gifted people to found a school and attract many adherents. Wide spread misconceptions have to be recriminated so that nothing unethical or of low value is associated with propaganda. It is important to understand what propaganda stands for and how it draws people into the world of reality. In this respect propaganda is unlike advertising since propaganda allows people and events to speak for themselves. It is helpful, if the result is to be of any value, that events and people are represented and explained to the fullest."

And he was Minister of Propaganda....

Ray Cowdery, "Nazi Para-Military Organizations and their Badges", Northstar Commemoratives, 1985

Collecting the Edged Weapons of the Third Reich

The Third Reich, as Adolf Hitler viewed it, was to be an Organic Society, that is, a society in which all parts were to be in harmony with the whole, subject to the supreme will of the Fuhrer. No part would be permitted to function independently outside the whole, with a life of its own. Thus all institutions the schools, churches, businesses, industries, the arts, the sciences and the military - were to be injected with heavy doses of National Socialist ideology and subject to firm Party control, with coercion being used wherever necessary. The purpose was not to oppress but to unify: all in harmony with one another. With a common goal and a Great National Purpose visualized for them by the Fuhrer, a better life for all Germans would be achieved. The Nazis had a word for this concept: EINHEIT, meaning one-ness or unity. For Adolf Hitler, Einheit was a mystical concept.

The visual realization of Einheit was in those colorful, spectacular ceremonials and mass-meetings that were endemic throughout the life of the Third Reich and were its most glamorous feature. Through the mass meeting the symbolic unity between the lone Fuhrer on the high tribunal and the vast anonymous masses before him was achieved; each in spiritual harmony with the other, the vertical lines of the standing men echoed in the vertical architectural effects surrounding them. People, Fuhrer, and architecture all formed a single harmonious unit in visual as well as symbolical form.

But ceremonials are not very exciting without all the paraphernalia that goes with them. Colorful banners in profusion, snappy uniforms a-glitter with decorations, insignia of rank, dress swords and daggers, and plenty of stirring music; these were the necessary ingredients for any successful Nazi ceremonial.

With his intuitive gift for the nature of crowd psychology, Adolf Hitler shrewdly exploited the potential power of the visual arts to make and sway opinion. Thus, under his direction, the political ceremonial was raised to a fine art conducted with a professional finesse seldom found in similar events in other countries.

The ceremonial was designed to give the ordinary citizen a chance to "dress up," to escape the mundane world of his personal problems. Through the ceremonial the citizen could solidify his sense of belonging to a group, which would present itself along with other groups before the Fuhrer and thereby join one another in the spirit of Einheit.

A uniformed group, with its standards and accouterments, formed an impressive visual unit when it was massed together. All parts of a standard were designed to fit harmoniously with one another and with the men who would carry them; Hitler's own design, the ubiquitous Swastika banner, was a masterpiece of visual harmony. Each insignia, each decoration, each sword and dagger was also designed to be part of the visual whole, to not only be harmonious within itself but also to "fit" with the uniform, which, when seen with other uniforms massed together in one group, would form a single impressive unit ready to join with others to form still larger units. From the smallest dagger to the large blocks of massed uniforms and standards, the psychological purpose was the same: to inspire the citizen (both as a participant and as spectator) with the power and glory of the Reich, to confirm his chauvanistic pride in all things German, and to give humble thanks to the Fuhrer who made it all possible.

Thus a dress sword or dagger was not a mere potentially useful object; like all other ceremonial objects which the Third Reich produced in such profusion, it had a symbolic significance which bordered on the mystic. Its design was conceived in the spirit of Einheit, with all its parts in harmony with the whole object.

There is something about swords and daggers that arouses deep primitive feelings in people, especially in men. They figure in song and story as ancient symbols of courage, honor, and authority; indeed, skill with one often meant the difference between life and death. Daggers in particular figure quite prominently in ancient Germanic mythology; even women of the Germanic tribes wore them and were adept at using them.

Design of Third Reich dress daggers was primarily ancient Germanic or medieval in flavor; some had classical overtones and others were quite baroque.Here the purpose was to form a visual link between the present and the past, to show that the Third Reich was a continuation of the hallowed old Germanic virtues and traditions into the present. The Art Deco style of the 1930's, so fashionable among the advant-garde in other countries, was nowhere to be seen in the design of Nazi edged weapons and only very rarely in other Third Reich artifacts. Since this style derived from French Cubism it was therefore condemned by the Fuhrer as "degenerate" and "un-German." Dagger designs ranged from the ugly chunkiness of the Labor Corps hewing-knife to the graceful stiletto of the Hitler Youth leader. All were adorned with the appropriate symbols of the various organizations for which they were issued.

Although Adolf Hitler himself designed all of the basic iconography of the Third Reich, he is not known to have ever designed a dagger. Nor did Frau Gerdy Troost, who designed so many of the silver objects of the Nazi Regime, ever design a dagger or sword. The majority of the artists who did design them were anonymous, and probably designed other types of regalia as well (the Third Reich, under the aegis of its art-minded Fuhrer, was a paradise for political designers who were both talented and ideologically reliable.)

History has shown that as a nation becomes an empire its designs develop from simple forms to more complex ones. This certainly happened during the Third Reich. A good example of this among the edged weapons is a comparison between the elegant medieval-style of the early Luftwaffe dagger and the later ornate baroque design which replaced it. Heavy, complex designs have always been symbols of power, wealth, and authority; but whether the Nazi designers were conscious of this is not known. Designs of major significance in daggers as well as the other regalia were usually shown to the Fuhrer for his approval; his suggestions were always religiously obeyed. In time, Hitler's own taste became more baroque as he succumbed to megalomania.

Daggers and swords were accorded the same status in the Third Reich as were the standards and decorations, no more, no less. They were all integral parts of the whole. There was no cult of the dagger in Germany as there was a cult of the sword in Japan.

The presentation of a dagger, especially of a dagger with an engraved inscription on its blade, like the presentation of a new standard or decoration, was an occasion for a solemn ritual which affirmed faith and loyalty between the giver and the receiver, and between both to Fuhrer and Reich. All parts of the dagger's design, at least in theory, were to be in harmony with the form and spirit of the whole object, which in turn was to be in harmony with the use and setting to which it was put. All parts of the ritual in which it was presented, and the ceremonials in which it was worn, were segments of the larger whole symbolized by the slogan "One Reich, One People, One Leader." The Nazis consciously and deliberately practiced a concept unique in the 20th Century and not seen in Europe since the 17th - Total Art. Thus each dress dagger that one sees out of context in a collector's drawer or on his wall was far more than just a useful object or a pretty adornment. It represented Einheit, the spirit of Adolf Hitler's Organic Society in a microcosm.

Major Johnson, for fifteen years a collector and internationally-recognized authority on the subject of German edged weapons, has produced a wellresearched book which should prove to be invaluable to the beginner as well as the advanced collector and/or researcher of Third Reich edged weapons. Though only a small part of the regime's vast array of accouterments, Nazi blades have proven to be among its most popular collector's items.

Karen Kuykendall (professional artist, author, and collector of Third Reich relics since 1947) Casa Grande, Arizona.

Thomas M. Johnson, "Collecting the Edged Weapons of the Third Reich Vol. 1", Author Published, 1975

johnsonreferencebooks.com

Collector Land Revisited

I haven't been involved in the militaria scene since 1975, but lately I've been getting the itch. Last month I came to Houston to attend a wedding and while there I managed to contact Bob Treend whom I hadn't seen for 12 years.After catching up with what has been going on and talking about collecting, I departed with two years worth of DG back issues, which Bob gave me. After reading 18 issues, I am a little surprised at the changes that have taken place, and feel like Rip Van Winkle.

Scanning these copies of DG is my first exposure to the collecting scene in 15 years. So, admittedly, this is a limited view. However, exposure to an outside perspective is sometimes useful to others.

First and most obvious, are the prices. I had expected a little inflation but wasn't prepared for the harsh realities of 1990. The intensity of the current scene is reminiscent of the Civil War collecting market in the late 60's and early 70's. I quote Tom Wittman in the April 90' DG: It is "dead serious business... almost like any real legitimate [sic] business." With all due respect, when a plain SA dagger sells for between $225 and $300 and a pair of SS officer's collar tabs list for $375, you have left the realm of "hobby" and entered the world of business. True, there are many expensive hobbies, but when you buy a motor for your bass boat or a new lens for your camera, you know exactly what you're getting. In militaria collecting it isn't always so.

Generally speaking, people engage in a hobby to relax. I can't speak for anyone else, but competing with 10,000 other people for the privilege of forking over 3 or 4 digit sums for a piece of scarce and desirable militaria is anything but relaxing. The competition has indeed become fierce. The publication of increasingly specialized reference books has made it easier to document and identify more and more pieces. Almost anytime you can document a piece of militaria by referring to an illustration or a photo in a book, its value increases. An increase in an item's popularity, as well as a broadened interest in a particular area (SA for example), often accompanies this inflaition. With this increase in value, popularity and interest, it suddenly becomes lucrative to reproduce an item or items. I'm not suggesting a straight line cause and effect relationship here, but would like to point out something that always puzzled me and other collectors I knew in the 60's and 70's.

Why is it that we never saw or heard of many of these items until after the reference was published?

Obviously reference books are an absolute necessity, but besides providing collectors with valuable information, they also provide fakers with working drawings for their handiwork. The pristinely executed line drawing in the Mollo SS series are a good example. The sudden appearance of many off-the-wall insignia as illustrated in the Kahl series shortly after its publication could actually be nothing more that coincidence. Still, in a hobby (excuse me "business") where you often must trust your instincts, it seems strange.

Tom Chaney: "Collector Land Revisited", Der Gauleiter, 1990

The Collector as Curator

Care and preservation of wool

An essential facet of collecting militaria is the custodial care and preservation of the specimen and certainly the challenge is formidable with woolen textile items. The category includes uniforms, headgear, insignia, flags and banners to name but a few.

Wool is severely effected by heat and high humidity.

Because wool is an organic material it is subject to photochemical and biodegtration and it is here where the problems of conservation present themselves. Wool is primarily a protein substance. Its composition is that of amino acids, the majority of which are keratin. Keratin contains sulfur which is the attractive feature for those insects that thrive on wool.

The photodegration of wool, an irreversible process initiated by all forms of light, is attributed to decreases in amino acid content and consequently a loss of strength in the fabric. In addition, wool is severely effected by heat and high humidity.

Fortunately for collectors of WWII militaria, age and antiquity of the specimen are not already against us. Most WWII period specimens are at best 50 years old and are generally constructed of superior materials and workmanship. This is particularly true of most woolen items produced by the Third Reich. Most examples can be found in good if not excellent condition and require little or no restorative attention. Perhaps because of their sentimental value most WWII collectibles have been well cared for over the years and the collector needs only to employ some simple conservation techniques. Happily, our job is often an easy one.

It's critical that the collector carefully examine every piece in his collection for evidence of infestation. Such clues indicating an infestation problem are usually cocoons, the presence of moth larvae and actual damage to the fabric. If a specimen exhibits damage from moth larvae then there's a good chance that more eggs

It's critical that the collector carefully examine each article for evideuce of insect infestation.

remain. Moths usually deposit their eggs in secluded places so thoroughly check seams, piping, along pocket edges and under collars. Evidence of moth infestation in headgear can generally be found under the sweatband, along the piping, under the chinstrap and inside the liner folds and pleats.

It is recommended that the collector maintain a record of the condition of each collectible with particular attention to insect damage. This can be done on a 4x5 card for each article, noting the location and extent of all mothing. While it may seen a tiresome exercise, this procedure can save you the distress of discovering existing damage not noted before and also avert serious damage should moth larvae become active.

It is generally agree by museum curators that all woolen articles be cleaned of accumulated dirt and dust. Dirt contains very abrasive particles that wear on the fabric and over time

It is generally agreed by museum curators that all woolen articles be cleaned...

cause considerable weakening of woolen materials. Dirt and grime can also accelerate the fading of textile dyes.

The collector can remove 50 years of filth and grime simply by going over the article with a hand-held vacuum cleaner (a household carpet vacuum with brush attachment can also be used but with much greater care). It's advised that a piece of fiberglas screen be placed over the fabric and that low suction be used so as not to pull the fabric into the vacuum. Use particular care when vacuuming frayed areas or with fragile pieces such as cloth insignia.

This very effective method of cleaning an antique textile is extensively used by museums. It is the safest for the article, particularly those in poor condition, and surprisingly restores the brightness and color of dyed materials. This method also removes moth eggs from seams, piping, pleats and other hidden areas.

Commercial dry-cleaning in not recommended for aged woolen textiles. It is a harsh process that abuses the fabric, removes moisture and natural oils, and leaves the material

Dry-cleaning is not recommended for aged woolen textiles.

with a dry "hand" or feel. Most commercial dry-cleaners are not set up to do museum quality cleaning. Nor are they often sensitive to the historical value of the object.

Once the specimen has been vacuumed clean of dirt and abrasives it must be rendered resistant to moth attacks. Museums typically fumigate their woolen collectibles in chambers containing paradichlorobenzene or diluted ethylene oxide gas. But the collector can accomplish an effective fumigation process at home.

Put the article inside a slightly larger cardboard or corrugated box and liberally place commercial mothballs (naphthalene) inside. Be certain to put enough mothballs inside the pockets, cuffs and sleeves of a uniform or inside the folded layers of a flag. Follow the manufacturer's instructions for the ratio of weight and mass for the article versus the quantity of naphthalene used. Cover the entire box with a plastic trash bag and secure for an airtight closure. Leave undisturbed for at least two weeks.

The one significant caution to be noted is that leather products can be harmed by prolonged direct contact with naphthalene and other insect fumigation materials. So be certain that

Leather proucts can be harmed by prolonged direct contact with naphthalene and other insect fumigation materials.

mothballs are not actually in contact with leather parts. In addition, it should be noted that mothball products can degrade plastic garment and utility bags; never place mothballs in direct contact with plastic materials.

Vacuuming and fumigation should render the article safe from insect infestation.

Despite some manufacture's claims, mothballs do not kill all species of moth larvae under all circumstances. But rest assured that naphthalene does create a hostile environment extremely unpleasant for any insect. The effects of vacuuming and fumigating should render the article safe from insect infestation.

Proper storage of antique wool items is equally important. Prolonged residence in an airtight cabinet is not recommended as stagnant air encourages insect activity and accelerated

Larvae are most active in darkness and where air flow is minimal.

fiber deterioration. If storing woolen materials in a closet, frequently leave the door open so as to promote fresh air circulation. Moth larvae are most active in darkness and where air flow is minimal. Museums advise a natural and steady but slight circulation.

For uniform items use wooden hangers. Metal hangers can rust and corrode in the presence of high humidity and permanently stain a fabric. Many collectors prefer to cover uniforms and headgear items with plastic garment bags. If this is to be done, and the practice is generally sound, make certain not to create a stagnant environment. Again, undisturbed and stagnant sir encourages insect activity. And use care when storing woolen articles in contact with each other; insect infestation can spread from one contaminated article to another.

Flags and banners should be stored flat and those of a large size rolled up. The practice of hanging flags for display is not encouraged, especially with larger examples. since the weight of the material distorts its shape and weakens the fabric. Tacks and nails should never be used in contact with material because of permanent holes in the fabric and staining from corrosion.

Woolen fabrics degrade faster when exposed to diffused light.

All types of light can cause photochemical degradation of textile fibers and dyes. Extensive tests by museums have shown that woolen fabrics degrade faster when exposed to diffused light than when in complete darkness at the same temperature. Particularly harmful are ultraviolet and infrared rays which are both emitted by sunlight; UV by fluorescent lighting and IR by incandescent bulbs. Rays generate heat (especially the IR Jight) and accelerate the aging process. Even brief exposure can irreversibly fade textile dies.

Wool textiles should never come in contact with direct sunlight. In the ideal condition windows should be UV filtered, but heavy opaque (blackout) drapes are considered

Wool textiles should never come in contact with direct sunlight.

adequate. Light fixtures ought to be positioned so as not to be beamed directly on a woolen item and ought to be turned off when the room or storage area is not in use. The devastating effects of all types of light on wool can not be overstated.

Wool fibers react to temperature and humidity changes which cause them to swell or shrink depending on ambient conditions. As a result the fibers rub against one another; an action whose consequences are compounded by the presence of dirt (razor-sharp silica particles), and if repeated often can cause excessive wear.

Absolute museum conditions are not practical for the collector's residence, nor are they desirable to those who wish to display their collections. The perfect museum condition - one that even museums fail to attain -- has been described as total darkness with a relative humidity value of 45/55% and a constant temperature of 60 degrees F. A practical condition for a private residence ought to be a temperature range of 68 to 75% and a RH value of not greater than 70%. It is known that a temperature above 80 degrees F. promotes and accelerates insect infestation. And RH values above 70% will cause mold and fungus growth on wool.

As a final precaution, be certain to inspect and treat accessories and accouterments of wool construction or with a wool backing. Such items include cloth insignia, marksman's lanyards, gorgets, medal and ribbon bars, brocade and parade dress belts, etc. Usually these exhibit some prior insect damage and can harm the uniform display article if the accouterments are not cleared of insects and their larvae. Likewise, display mannequins should be thoroughly cleaned before use.

Never press a woolen textile item.

The harmful effects of tobacco smoke on woolen specimens should not be regarded casually. Tobacco smoke permanently stains and discolors dyed materials.

Never press a woolen textile item. The process will force dirt particles into the fabric; it can also scorch or permanently gloss the surface. Also stain and spot removers are not recommended for use on aged wool. Most commercial spot removers are extremely

Spot removers are not recommended for use on aged wool.

caustic and can cause the yarn to weaken where applied. Some textile dyes will fade when exposed to commercial stain removers. As difficult as it may be to accept an unsightly stain most museums recommend to leave it. A mild facial soap with warm water may yield results at best, but even this must be approached cautiously.

Author's Note

Several notable researchers of Third Reich militaria have addressed the subject of conservation. Tom Johnson's "Collecting the Edged Weapons of the Third Reich", volume 2, presents a well-researched case study of the restoration of an Imperial edged weapon. And Tom Shutt illuminated the care methods for headgear in his "Dress and Field Service Hats of the Third Reich". Likewise, Goodapple et al, discuss proper preservation techniques "German Helmets" volume 2. These works are recommended for the collector's reference.

Alden W. Hamilton, The Collector as Curator No. 2, Der Gauleiter, 1991

German Steel Helmets

Ten Tips for Collectors

Investing in German steel helmets is not as easy as it once was, but there are still collectible helmets available in which the value will appreciate nicely in the future. As crazy as it sounds, a German helmet that is original to one person may not be original to another. The starting point is to define what "original" is, and then evaluate each helmet against the defined criteria. By most definitions an original helmet is one that was manufactured anytime between 1916 and 1945, has never had its liner replaced or been altered in any way since WWII and was most likely worn during that period. However, even this simple definition raises questions. Most collectors do agree that most postwar modified helmets should generally be avoided.

Differences Between Original and Postwar Modified Helmets

In terms of originality, German steel helmets fall into one of several categories. Of course, not everyone agrees which category a given helmet belongs in. The rarest is the unissued, mint conditioned helmet that was never worn during WWI or WWII. Unfortunately, some of the best of the postwar modified helmets can be mistaken for being in mint condition instead of the fabrications that they really are.

Then there is the helmet that shows wartime use but retains its original paint, liner and decals, and was never modified after the war. These are highly sought-after as they are original by any definition, their main attraction being that they are genuine pieces of history that were actually used by combat soldiers.

Helmets that were reissued during the period are another category. These were often given new paint, a new liner and new decals. This reissuing was occasionally performed in the field. The field replacement of liners, repainting and application of new decals was performed in less than ideal conditions, and these helmets sometimes look it. Again, it is unfortunate that this has opened the door for all sorts of postwar modified helmets to be passed off as "reissued". Postwar modified helmets made up of original parts are the next category. Some of these postwar modifications include the mixing of original shells and liners and the application of period decals. Many collectors do not consider these to be original even though they are made of original parts. It isn't always easy to know when a particular liner or decal was replaced. This confusion is where the definition of original becomes somewhat muddled.

Probably due to there being so many shells of "German" appearance, these helmets have never been completely reproduced. The final category contains those helmets that are easily recognizable as being modified in the postwar era. The shell and liner may be of Czechoslovakian, German, Norwegian or Spanish origin. The shell may have been made during the 1916-1945 period or after. Some of these have been repainted in camoflage patterns. The shells may have either too many or no holes for the split rivets that held these liners in place on the original German shells. Also, many of these shells ,have vent holes that differ in construction from those on the original German shells. What sets these helmets apart are the obviously fresh paint and decals and the newness of the leather liners. These liners continued to be made by West Germany for their army until about 10 years ago. Except for the use of some plastic parts, these West German helmet liners are very similar to those made in wartime.

References Define Helmet Variations

There are numerous references that define the different helmets for each branch of service and these provide excellent guidelines. Be aware that they can't possibly include every variation one may encounter. These references should be studied carefully and used to define the numerous types of German steel helmets. Those listed in this bibliography are a good place to start, and there are others as well.

Each collector should develop his own idea of originality based on careful study of the references and examining the helmets for sale at shows, flea markets, etc., and then avoid those that don't fit the criteria in some way. Just looking at them closely provides valuable experience. Using such strict critena may cause one to occasionally pass on helmets that are both original and good collectible investments. On the other hand, it will enable the collector to pass on many more that are not original. With that in mind, 10 tips for collecting German steel helmets are offered here.

Ten Buyer's Tips

1. Get a copy of Ludwig Baer's book The History of the German Steel Helmet 1916-1945. This 448-page masterpiece contains photos and descriptions of every basic type and numerous varieties of both combat and non-combat helmets. It is very well researched and is the most comprehensive reference available by far. There is much original German source material about the development of and various orders pertaining to these helmets. Although out of print again, a copy is worth its price to a true collector for the quality and quantity of information it contains.

2. Don't let the chance to buy a rare helmet affect the judging of authenticity. The rarer a helmet is, the greater the chance of its being a postwar modification. A good rule of thumb to avoid being taken advantage of is not to buy any helmet that raises even one "red flag".

3. Start by collecting basic helmets. Single decal Army and Luftwaffe helmets are fairly common and are less likely to be reproduced than double decal SS helmets. Remember that sometimes silver Army decals oxidize and turn gold over time, and can easily be mistaken for a more expensive naval (Kriegsmarine) helmet. Chemicals and heat can be used to artificially age leather liners and the shells.

4. The wear of the shell should match the wear of the liner. Be leery of all replaced liners, even if the replacement appears to have been done during the period. Also, look at the rivets that attach the shell to the liner. They should be flat against the liner band. If the rivets show evidence of being bent back and forth, consider buying a different helmet. This is true for German steel helmets from both WWI and WWII.

5. Decals should show an even, aged look and should fit tightly against the paint. Reproduction decals are usually printed on plastic, and this allows them to be identified by touch. A bubbled appearance may suggest that the shell and decal were treated with heat to simulate aging. A rubbed appearance is another good indicator of postwar application. The rubbing is done to force the decal to fit as snugly as possible. The regulation decal application procedure consisted of several steps and left very little margin for error. One indication of an original decal is "spidering," the formation of thin cracks over the surface of the decal due to age. This is often seen on party shields and red, white and black tricolor shields, but not on the metallic based ones such as the SS used. Sometimes a thin coat of lacquer was applied over the decals to protect them. This can be detected by the small amount that usually overlaps the area right around the decal. Over 50 plus years, lacquered decals tend to appear darker than the unlacquered ones. This may also be due to the particular brand of lacquer that was used.

6. The liner should fit correctly in the shell. Although all German steel helmet liners are size adjustable, the liners were made in different sizes to fit in the different sized shells. Postwar switching of liners can sometimes be detected by a poor fitting liner that is either too large or too small for the shell it is sitting in. Presumably the Germans would not normally have made this mistake. Also, the liner band should conform perfectly to the inner shell of the helmet. There should be only a very small even gap between the liner bands and the inner shell. Also, watch out for those darker colored, reddish-brown Norwegian replacement liners. The larger sized ink stamped size marking of the Norwegian liners is another characteristic of these replacements. These liners were placed into German helmets that were left behind in WWII and then used during the cold war era. Real militaria they are, but German they are not.

7. Be extremely careful of SS helmets. The rarer the helmet, the greater the chance that some enterprising individual will attempt to reproduce it in some way. According to "SS Helmets: A Collector's Guide" by Kelly Hicks, noted SS helmet collector, the only difference between a correct but freshly applied decal and a period applied SS decal is the brightness of the shield. Original decals had a metallic luster that is quite striking when seen in direct sunlight. Hicks also says that many no-decal M-42 helmets are being modified with the application of original SS decals. This can turn a $200 helmet into a helmet worth $1,200 or more. Hicks' excellent little book is filled with tips like this and some beautiful photographs of a wide yariety of SS helmets. SS helmets should be. avoided until a collector has sufficient experience or really trusts his source.

8. Be extremely careful of camouflage helmets from the Second World War. The use of camouflage paint was more common during WWI. Army orders were even issued regarding the colors and patterns of paint to be used, and these paint jobs have faded over the past 80 years. Camouflage paint schemes varied more during WWII. Today, there are many postwar-created camouflage helmets in the market, some selling for over $500. Metallic paint should never be seen on these helmets, as it is reflective and would not have been used. If the paint appears to be fresh and has been applied over old rust, it is probably a recently done fake. Rust often forms in areas where the original paint has been scratched off the shell. The older the rust, the darker its color. There should be flaking to the finish and wear to the top of the shell, as helmets were usually placed upside down on the ground during rest periods to keep dirt, mud and other debris out of the liner. Many of the camouflage helmets seen today do not display this wear on the top. Keep looking until you find one that does.

9. Get a guarantee, at least for the length of the show, or three days if the purchase is made by mail or directly from another collector. This seems to be the standard accepted practice these days and should not pose a problem. Soliciting the opinions of other collectors or a knowledgeable friend is also a good thing to do. Lifetime and one year guarantees are not offered as often as they once were. So you must learn to evaluate a prospective purchase before buying it or shortly thereafter instead of relying on the willingness of the dealer to give a refund at some future date.

10. The experienced collector knows that it is always best to buy the helmet in the best possible condition. Spending a few extra dollars now will payoff in the long run. This fact of the collector's life applies well to helmets, and is worth keeping in mind. There is a lot to know, but the fascination with these helmets increases as you learn more about them. They're fun to look at and as investments go, they are a lot more predictable than the stock market. So first get educated and then get started on your own collection.

Pete Schou, "German Steel Helmets", 1999

Bringing Your Collection to Life

How many times have you held a newly acquired relic and wondered about it's history? I know I always like to know as much as possible about the things that find their way into my collection. Unlike some hobbies, (coin or stamp collecting for instance), militaria collecting is the history of individuals, not just inanimate objects. If we're lucky, we can identify Some items with specific people, places and events.

There are a number of different ways to research artifacts, but there's never a guarantee of success. First, let's look at a "worst case" scenario. If you have a relic that has no identifying marks, names, units, etc., it may seem hopeless. But it's not impossible. You cold talk to the person you got the item from and find out from who or where they got it. Then contact that person and keep working your way back until you eventually reach the original owner. This is the hardest way to conduct research and it usually isn't successful, but the possibility is still there. If you have anything at all to go on, like the name of a unit, your chances of success are pretty good. You can at least narrow the scope of your research and concentrate your efforts in a specific direction. But you also have to be able to make some educated guesses when detemining what route to take. While the best situation is to have a full name, rank and unit, anyone of these three is enough to get started. I offer the following exmnples:

I acquired a German M-35 helmet from a friend. The field grey finish had been over-sprayed with a sand color and actual sand had been applied while it was still wet. It also had some shrapnel damage, as well as blood stains in the liner. The name "Ltn. Uecker" had been painted on the rear inner rim.

Thus far I could assume two things.

One: Since the model of the helmet and the date on the liner placed it as being made in 1940, I could assume he had fought in Italy or Africa. Had it been dated after 1943, he could only have been in Italy.

Two: It was obvious he had been wounded, possibly killed. With this in mind, I wrote the U.S. National Archives, asking for any information on German officers named Uecker. They in turn sent me a photocopy of a list showing that there were four officers with that name, but all were on the German Army active Juty roster in late 1944, and all were Major or higher. Strike one.

I wrote the German Archives next. There are several archives, each one dealing with different areas. The first one I wrote replied saying they had no information on any officers name Uecker. Strike two.

I then wrote the archives at Rastatt and hit the jackpot. Their reply said that they had Leutnant der Reserve Siegfried Uecker listed. He had been assigned to the 961st Afrika Rifle Regiment, and, unfortunately, no other records existed of his service, awards, etc., due to loss or destruction. The letter also said he had been a prisoner and died in Germany in 1976.

With this infomation I could place a name with the relic and it opened another avenue of research. I have a copy of the German Order of Battle, so I looked up the 961st. That unit was assigned to the 999th Light Afrika Division, also known as the 999th Infantry Division (Penal). It was comprised of political and ordinary criminals, so it was certainly a unit with a little "color" to it. The 961st was sent to Tunisia in March 1943 and surrendered there in May when the remains of Army Group Mrika laid down their arms. Not only did I have a good collectible, but one that could now "talk"!

In another instance, at a flea market I bought an Iron Cross 2nd Class document with the original signature of a general named Mieth. The recipient had been in the 4th Company, 256th Infantry Regiment, 112th Infantry Division. Using the German Army Order of Battle, I found that the 112th had been commanded by a Major General Friedrich Mieth. It stated that he had been Chief of Operations Department in the High Command of the Army and played a major role in the planning of Operation Barbarossa. He died of a heart attack in battle near Jassy, Rumania in 1944. I again wrote the National Archives and the Bundesarchiv. I got complete records from both, although the Bundesarchiv also sent a 5 X 7 photo of him. I was pleased to learn that General Mieth had won both classes of the Iron Cross in both world wars and was also a winner of the Knight's Cross and Oakleaves.

While it isn't always this easy, researching your relics will add a lot of fun to the hobby and in some cases can add monetary value to the item. It can certainly make it a conversation piece! Even though here have been plenty of times that I came up empty handed, a few success stories far outweigh the disappointments of running into a dead end. Take the time to research your collectibles - the only thing that will limit you is your imagination. Remember even long shots can payoff. An investment of a little time and leg work and you can bring your collection to life.

The following is a list of current addresses and phone numbers that may prove helpful when doing research. For those numbers in Germany dial 011-49, then the number.

National Archives and Records Administration NNG Washington DC 20408 Maintains records on German officers who were available for duty in the last months of the war. Charges 75 cents per page with a $6.00 minimum.

National Personnel Records Center Military personnel records 9700 Page Blvd.S1. Louis MO., 63132 The NPRC can provide information on former members of the armed services.Veterans who have lost their medals and decorations over the years can write this address with a explanatory letter and have all medals and awards replaced, free of charge.

Bundesarchiv Potsdamer Strasse 1 Postfach 3 20 56075 Koblenz Phone: 0261-5050

Bundesarchiv-Zentralnachweisstelle Abteigarten 6 52076 Aachen-Komelimunster Phone: 02408-1470 Has information on former members of the German Army, Luftwaffe, Waffen-SS, Reichsarbeitsdienst (RAD) Organization Todt (OT), Armed Forces jurisdiction and awards of orders and decorations.

Bundesarchiv Ab1. VI - Militararchiv Wiesental Strasse 10 79100 Freiberg 1. Br. Information concerning Prussian Army (up to 1967), North German and Imperial Navy, protection troops and Freikorps, Reichswehr, Wehrmacht and Waffen-SS.

Berlin Document Center Wasserkafersteig 1 14163 Berlin 37 Phone: 030-8197754

Deutsche Dienststelle (WASt) Eichbomdamm 179 13403 Berlin Phone; 03041904290 (Mon - Fri, 9-2 Central European Time) FAX: 41904100 Handles correspondence for Wehrmacht killed in action.

Volksbunb Deutsche Kriegsgraberfursorge Wemer-Hilpert Strass 2 34112 Kassel The German War Graves Commission maintains war graves in more that 80 countries around the world and has a database with the names of fallen and missing German soldiers, as well as their grave site (when known).

Mark Conrad, "Bringing your Collection to Life", Der Gauleiter , 1994

The Collector as Curator - Part I

CARE AND PRESERVATION OF PAPER SPECIMENS

All of our collectibles are in a state of quite aging. Certain specimens are in an accelerated state of deterioration due to poor care especially after the ownership of a veteran or noncollector. However, proper presentation and care techniques can retard the process of deterioration.

Most papers are due to self-destruct simply because of the method of manufacture...

The problem is particularly evident with paper specimens. Most papers are due to self-destruct simply because of the method of manufacture and certainly the printing papers of the Third Reich are no exception.

The subject of paper chemistry is a complex one, but it is sufficient for the purposes of this article to say that most post-Industrial Revolution papers were manufactured in an acidic process. The most common method of sizing, or rendering a paper receptive to ink, is that of alum rosin. This is a highly acidic material and is retained in the paper after manufacture. Hence the aging process acid hydrolysis is initiated and the paper commences its inevitable self- destruction.

Not surprisingly the printing papers of the Third Reich covered the full spectrum of quality from extremely poor newsprint to high grade rag papers. And all too often, despite their original quality, these paper specimens come to our collections in an advanced state of deterioration. Quite commonly these papers have been folded or creased. Depending upon the degree of deterioration, these creases if continually folded will eventually fail and separate. The entire paper is being slowly consumed by acid hydrolysis, but those cellulose fibers along the crease are particularly susceptible to failure because they are weakened during the stress of folding.

Paper is primarily an organic material and its cellulose composition renders it sensitive to many environmental influences. In particular, heat, sunlight, high relative humidity or extremely dry conditions are environmental stresses that accelerate paper degradation. An extreme example is the evidence of yellowing of modern newsprint when left for just a few hours in direct sunlight.

Frequently these collectibles have been stored for prolonged periods in hot, dry conditions. Equally harmful are the conditions of a damp basement. While our collections are housed in much more favorable conditions, we must nonetheless be cautions in our display techniques.Again, the chemistry of paper degradation is complex and still not completely understood, but is is certain that sunlight, either direct of diffused, is destructive to paper. Artificial lighting, while believed to be less harmful, is certainly no less dangerous over a prolonged period of exposure.

Sunlight causes accelerated aging in paper because of the generation of heat.

Photo degradation is another aspect of the process, but heat is known to be a primary contributor to deterioration because it evaporates imbibed moisture, a vital component in paper which bonds the fiber together. Prolonged storage in an excessively hot environment will prematurely dry a paper, cause it to yellow and fade and thus promote brittleness.

An extremely humid condition for long periods can be equally destructive. The humid climate of the Southern States is particularly troublesome. Unconditioned basement storage in any climate can produce the same results. High relative humidity promotes rapid mold growth, corrodes metal attachments and staples and further accelerates the phenomenon of acid hydrolysis.The problem of mold growth on paper, a condition referred to by paper conservationists as foxing, is most common with antique papers from ca. 1800 on. It is caused by mold spores present in the paper stock from the time of its manufacture.. Most often the condition of foxing is initiated by high relative humidity and results in brown blemishes on the paper' surface.

While all of this may seem at the least very distressing, a collection can be preserved and further deterioration arrested with some simple conservation techniques. Make certain that all display area windows are well shaded during daylight hours. Some blinds significantly reduce sunlight. Artificial lighting ought to be diffused and muted. Lights should be turned off when the room is not in use. It is particularly important to note that many papers contain dyestuffs and colorants which are not lightfast. Even the briefest exposure to direct sunlight is known to fade the dyes contained in paper award packets. Further, it is not recommended to illuminate a paper artifact with a display lamp. Such exposure will fade printing and writing inks.

Archivists discourage the use of clear plastic enclosures for storage of any paper artifacts.

Many collectors have no alternative but to display and store their collections in basements. In such cases a dehumidifier is highly recommended particularly if the residence is in a humid climate. Museum and archive conditions are typically 50% RH at 70 degrees Farenheit and paper is believed to be quite stabile in this environment. While museum conditions are not practical for a residence, it is recommended that approximate values of 65% RH and 70 degrees be maintained. Certainly no conditions are absolute, whether the collection is stored in a archive or a residence, but a consistent environment is critical. Likewise, a humidifier can restore a favorable ambient environment under dry climatic conditions.

The proper handling of paper is imperative.

The perspiration from our hands is acidic and frequent handling can promote further damage. Wash and dry your hands well before handling paper artifacts. This diminishes smudging also.

Use caution when lifting a paper specimen.

Careless handling can cause an already weakened paper to tear particularly at folds or creases. Store your paper documents flat and unfolded. The absolute protection from a purist's view point is to store the document between two slightly larger sheets of acid-free alkaline sized, white cotton fiber blotter paper. . In the ideal condition, storage materials (Le., envelopes, file folders) should comply with the archival specifications of the Library of Congress and the National Archives. This may not be practical for all collections but should be considered for particularly rare specimens. Such conservation quality storage materials, envelopes and file folders are not difficult to acquire commercially. Consult a familiar museum or archive on the sources of such materials.

Not that the aged condition of our collections is distressing enough, but now the additional threat of urban atmospheric pollution has caused concern among paper conservationists. The burning of fossil fuels has rapidly created the condition of acid rain. Urban environments in particular are high in sulfur dioxide, a corrosive gas which is already absorbed into the paper. In many European cities the problem is alarming. Again, proper storage materials can retard the process of deterioration. Archive quality file folders, storage envelopes and enclosures will provide satisfactory protection against the polluting effects or urban environments.

Archivists discourage the use of clear plastic enclosures for the storage of any paper artifacts. Many of these materials are not chemically inert and can degrade over time thus damaging a paper document. Too often a paper will adhere to plastic, either from static electricity or from attraction to oiled surfaces, thereby making removal of the specimen difficult. Surface dirt and grit, although minute, are extremely abrasive and will harm" a paper's surface. This is particularly true in the case of photograph storage.

...framing of paper ought to be a cautious procedure.

Many collectors have chosen to frame certain items. While this makes a handsome display, the framing of paper ought to be a cautious procedure. Most mat boards are highly acidic in themselves. Over time and in the presence of heat, sunlight and humidity the acidic materials in the paper mat will be absorbed into the subject article. This phenomenon is know as acid migration or print bunzing. Make certain that your framer uses genuine archival framing techniques. These methods and materials are also prescribed by the National Archives and mats and mounting boards should be acid-free, conservation quality. The buffing of the paper board with calcium carbonate by the manufacturer is a method that renders the framing of storage materials resistant to acid degradation.

A paper specimen should never be pressed directly into contact with the framing glass. If condensed moisture is present inside the frame the artifact may rapidly exhibit foxing or possibly stain from water damage.

It is certain that these paper artifacts will continue to selfdestruct...

Paper making has always been a complex process. All papers are manufactured to certain exact specifications and certainly this was common to the paper products produced by the Third Reich. This explains the uniformity in certain types of specimens, particularly award documents, although other types of paper for specific applications show common properties. It is probable that such printing papers for military correspondence, award documents or letterhead for high officials, for example, were produced to given specifications. This was no doubt the case during the early years of the Third Reich, although no substantive period data has surfaced to confirm this. It is also likely that shortages from the worsening wartime conditions forced Third Reich authorities to procure paper products from the inventories of occupied countries. This may help to explain the extreme variation in quality in certain papers for specific applications. What is known, however, is that the European paper makers of the 1933-1945 period produced an acidic product and that these papers are not a permanent, durable material. Few period specimens exhibit the quality of permanency.

It is certain that these paper artifacts will continue to self- destruct unless properly cared for. Frequent inspection for signs of distress is highly recommended. Ultimately it is within the judgment of the collector to determine the condition and quality of the specimen and its appropriate care. Preservation techniques are simple, a collection can still be displayed and the integrity of the artifact will be preserved.

Author's note The care of photographic materials is a subject in itself. The most important consideration with photographs is the image emulsion and its response to environmental stresses. Photographic negatives too, must have special care. A follow-up article is planned to discuss this subject.

Alden W. Hamilton, "The collector as Curator - Part I", Der Gauleiter, 1990

Collecting German Toy Soldiers - Part I

Collecting pre-war German composition figures and related tin-plate vehichles has become increasingly popular over the years. The proliferation of reproductions and fakes that seem to touch nearly every field of 3rd Reich memorabelia has made collecting these quality toys from that ear an attractive alternative. It has been estimated that the number of serious collectors in both America and Europe has increased over ten times since 1975! Current dealer sales lists and toy soldier sales reflect increasingly higher prices being paid for quality pieces.

This is the first in a series of articles in DG aimed at expanding the military collector's knowledge and awareness of this little understood buy increasingly popular hobby.Since the turn of the century a number of German toy manufacturers produced, in addition to regular toys and games, a line of composition military figures in mainly 6.5cm and 10.5cm sizes. The best and most prolific of the manufactuers were the firm of Hausser (their figures were trademarked "Elastolin") and they were located in Ludwigsburg and the firm of Lineol located near Brandenburg.

In 1933 Hitler and the Nazi Party came to power in German and it suddenly became expedient (and profitable) for manufacturers to expand their lines to include not only military but political figures. The scale was standardized to 7cm. in size and increasing importance was placed in figure production during the 3rd Reich ear. Successive Hausser and Lineol toy catalogs of that period devoted more and more pages to military and political figures at the expense of their other non-military toys. Realistic figures were created of 3rd Reich and Axis personalities such as Hitler, Goring, Mussolini, Hess, Gobbles, Lutze and Roehm. Beautiful Elastolin figures in various poses were made of Hitler, Goring, Mussolini, Franco and Hindenburg with finely detailed porcelain heads and movable saluting arms. Figures representing nearly all branches of the military and political spectrum were produced, such as the Army, Luftwaffe, Navy, SS, SA, Labor Corps, Hitler Youth, German Youth and even the little girls of the BDM, each with their respective flagbearers and musicians. Numberous posses were made that reflected nearly every aspect of military activity, from marching bandsmen to action figures, mounted cavalry, artillery, pioneers and Lager (Bivouac) figures.

During this period both firms greatly expanded their line of qualiy tin-plate military toy vehichles and guns, reflecting the latest designs of real German military equipment. Wonderful trucks, staff cars, tanks, armored cards, cannons and motorcycles were produced, all in either the early camp brown, tan and green or wartime gray colors. Many had working electric lights, cap firing guns, clockwork motors, direction turn signals, cloth folding tops and seated crew figures. The rarest and most desirable of these that survived the war is the large and wonderfully detailed Hausser half-track with eleven seated figures and the eight-wheeled "Panzerspahwagen" armored car. Both measure over 13 inches long and, in 1939, cost the average German worker almost a full weeks wages! Like the composition figures, these vehichles and guns, in good original condition. command top dollar. In future articles I'll discuss in greater details specific groups of figures and tinplate toys. In addition I plan one article devoted to recognizing repaired, repainted and reproduction pieces.

Fred Ramm, "Collecting German Toy Soldiers - Part I", DER GAULEITER, 1988

Introduction to Third Reich Documents

After several years of research I am able to introduce you to the companion volume (the 2nd Edition of the 1993 Forman's Guide Series (Bender, USA). The wealth of material found during European trips and received through the post has been enormous thanks I many individuals. Originally, my goal was to gather from 350-500 illustrations for this study but these figures more than doubled giving me an excellent grouping to choose from. These will illustrate not only this volume but also volume 2. Of all those received, only a small number were rejected as either fakes, copies, or at best, doubtful.

The reader will note, particularly in the Knight's Cross grades, what appear to be multiple duplications. In this case I felt that the rarity of the subject warranted as many examples as possible being illustrated, covering the Fuhrer's differing signatures in conjunction with the dates and years of award. Also, the more common certificates have been duplicated to show comparisons of official stamps and printing style, and original or facsimilie signatures in relation to date, plus, of course, the many variants in design, size, Unfortunately, some award sections have no illustrations reflecting the extreme rarity of some documents even though the award itself is scarce but not impossible to obtain. Where as some of the rarer documents can be found in collections, others which are considered extremely rare have to this time been undiscovered. But then, out of the woodwork, a rarity will appear, either from the original recipient, his family or from a veteran's estate.

Traditionally, collecting documents from the Third Reich has been of interest to medal collectors worldwide. With an increasing number of German miitaria dealers offering single or groupings of documents on their lists or at shows, the reproduction artists have noted increased interest and are now actively filling the demand. One of their classic tactics is to add a reproduction central piece to an existing original document/certificate grouping. Those interested in this subject should search for any reference books, articles, illustrations of signatures, history of award winners, units, and orders-of-battle, to give a better overall picture when adding to a particular field of interest and also to check originality. In today's world, all signatures (identified ones), official stamps, units, etc. can be checked, and with a careful glance an educated eye should be able to determine if for example, the paper has been subject to aging with tea or if it has been newly folded.

Regarding the sizes of the documents/certificates covered, I have used the European size code for approximate dimensions (see chart). Where not standard size, very large presentation documents are not included in the chart, and very small examples are illusrated at approximate size.

As this work was designed as an identification of documents and certificates, and basic value guide, it was decided not to add the identification of every signature found) illustrated specimens. Obviously, famous signatures such as Rommel add to the value) piece, whereas certificates with well-known but not rare signatures are valued accordingly. It is possible that to the probable delight of autograph collectors, this will be added to future editions. Thanks to articles written by Mr. Karl Joss of Germany and the document book by Emilie Caldwell Stewart, we are now aware of the signatures and dates in regard to preliminary certificates of Knight's Cross grades, at least for the German Army.

After 25 years of collecting, handling, and dealing in documents ranging from rare to the common, I am confident with my coverage of this vast and sometimes complicated subject. But, the finished work will be assessed by you, the reader, and hopefully it will be embraced as a true basic reference and value guide. At the very least, it is a beginning which will hopefully inspire others to build on it and create ever better books on the subject.

At the time of this book going to press, and looking at a 700 page work, it was determined to break it into two approximately 350 page volumes which allowed me to include even more in each. Volume 2 will follow before the end of 1995.

Adrian Forman: "Forman's Guide to Third Reich German Documents...And Their Values", Volume 1, R. James Bender Pubishing, 1995

Bender-Publishing.com

Nazi Symbols

For the new collector the various symbols encountered in our hobby can be difficult to understand. Here are some of the ones every collector should know on sight. There are many others.... Bob

Images from: Ray R. Cowdery, "Nazi Militaria - Fake or Real?", USM Inc., 1993

Militaria Dealer Pricing

" The time has come, the Walrus said, to speak of many things, of sailing ships and sealing wax, of cabbages and kings. "

While reading through the 'Dealer Reports' I quite often come across the notation "Prices are too high" or "He charges too much." It was after thinking about this aspect of the reports that I decided to write a little paragraph or two about my pricing policies since I have been the subject of a number of similar complaints over the years and I believe my polices are probably typical although what follows is my personal and true method and philosophy about how I arrive at my prices for items which I offer for sale. While I can't speak for other dealers, I believe that this article might give the collector some insight into what goes into placing a sale or trade price on a piece.

I have been a collector of Imperial and Nazi militaria for over twenty years. I became interested in accumulating 'war relics' when a neigbor gave me two WWI helmets and a dagger. I was immediately hooked and began accumulating every single thing I could find. My personal approach to a piece was to then study the history behind it, so as to be able to learn the historic context in which it was placed. I found that this combined study of the history and the placing of a piece in its true context offered me a sense of fullfillment that was unmatched by other interests. Soon, however, a new problem developed. I began to duplicate material already in my collection and there was no way to avoid it. What would generally happen is someone would respond to my numerous ads which were scattered throughout the area I live in and offer me a bunch of stuff on which I would make him an offer. As often as not, when I got home and began thoroughly sorting the material, I would find one or two duplicates which were superfluous for my needs.

After a period of time during which similar scenes took place, I began selling off my excess and using the money to acquire new pieces. In this way, my personal collection grew substantially over a period of time and I found myself with more and more material which was unneeded. Gradually, I put together a 'Sale List' of items and sent them out to other collectors throughout the country. At this point, I was considered by other collectors as a dealer. But at this junction, two thoughts began to form in my mind and a decision had to be made very quickly. Was I to remain a 'Collector/Dealer' selling off my excess and continuing to look for other items or was I to try and become a full-time dealer, making all or the major part of my living selling militaria? A very detailed examination of these possibilities led me to an astounding discovery - if I tried to make a living by selling militaria full-time, I would have to begin to sell repros, since I could not guarantee a continuous supply of 'good' stuff and fluctuations in income could not be tolerated in a normal living enviroment. As an aside at this point, I would like to point out that this fact of life is still valid even today. If a dealer makes his total living from the sale of militaria, in the vast majority of cases he must also sell repros.

There are very few exceptions to this rule. This does not imply that the 'amateur' dealer doesn't sell repros, many of them do, but be especially wary of any dealer who makes his full-time living selling war relics. The chances are good that somewhere along the way he will try to move a bad piece on you.

(Editor's note: Please note that Bill has allowed that there are exceptions to the above and that he is not talking about the honest dealer who sells a repro as a repro.) Once I had decided not to become a full-time dealer, it was natural for me to begin to seriously consider where I wanted to go with my collecting. I decided that the common, everyday type of items that I was accumulating in boxes was not to my liking, so I began to specialise in the very rare and exotic pieces. When a call came through from a prospective seller, I would still rush out to find out what he had, but I would look more critically at his assortment and would buy only if one or two of the pieces were of an uncommon item. The remainder I would pass on or, if I were required to buy the lot to get the one piece I wanted, I would immediately call a few other collectors and sell them the remainders. In this manner, I slowly watched my collection change from a helter-skelter assortment of many similar items to a very refined, sophisticated collection of exotic pieces. Now I was faced with an entirely new problem - how to continue buying rare pieces which were rapidly escalating in value and still not deprive my family of a normal life. The answer was to begin to sell off some of my rarer pieces in order to re-cycle the money into new and more exotic items. The tone of my lists gradually under went a change towards the more expensive, exotic and one-of-a-kind items of interest to greatly advanced collectors (or those who wanted a single, fine, rare piece for the centerpiece of their own collections). It is, for the most part, this type of list which I currently send out to other collectors and this brings me to how I have established my prices.

Let's start with the simple basics. A man calls me to tell me that he has a number of pieces for sale. When I examine the items I find one or two that are of interest to me either as a collector or as a dealer willing to re-sell them. At this point, I must make an offer which is high enough for him to sell the item or items to me as opposed to calling in another dealer or collector. Once I arrive home with my find, I begin to sort and cull all the superfluous pieces out and grade them according to condition. Then I consult the lists of other dealers , throughout the world to see what similar pieces are selling for. I even consult the lists of the fraud merchants to see what they are getting for rip-off items.

Now I have an idea of what the gross profit on the entire transaction will be (selling prices less purchase price/gross). Let us assume for the sake of illustration that I have paid $100 for a collection of items that, when sold, will return me $400. This would indicate a gross profit of $300, which isn't a bad return. However, I am now faced with the selling of the items involved to make this profit. In order to accomplish this, I use two methods - I send out lists to subscribers and I attend militaria shows as a dealer. I charge $1.00 for a year's listings (generally three) of all the items which I am offering for sale.

This list consists of about eight pages of items and prices and costs me approximately $40.00 to print each issue. It currently costs me 20¢ per list to have our outstandingly efficient postal service send them to the subscribers, making a total cost per quarterly listing of $80.00. Since I mail a minimum of three lists per year, my yearly cost to tell potential buyers what I am offering is $240.00, which is $40.00 more than the subscribers pay for the lists. This amount also must be deducted from the Gross profit figure. Now, since no dealer ever sells every single item on his list, that means that he will carry items in stock for a period of time therefore keeping his original investment tied up longer. My own lists average about a 30% sale rate which is probably average. The unsold items are packed into cartons and loaded into my van and begin travelling with me on the week-ends to the gun and militaria shows throughout the area. It is not uncommon for me to drive 700 miles (round trip) to attend a major show and the cost of gasoline, food, and lodging plus the costs of tables must also be deducted from the rapidly dwindling gross profit figure mentioned earlier. For the past seven years that I have been keeping very accurate records, I find that I am actually losing money each year, but the loss is not nearly as great as it would be if I were not selling some pieces off to help defray my expenses. I would have enjoyed not having to sell off items from my own collection, but if I didn't, I wouldn't be able to continue this activity. I know that other collector/dealers must face the same problems, thus the temptation to deal in repros.

Another aspect of pricing which should be mentioned right here is the pricing established by the repro dealer. As an example, there are currently to be seen many ads offering so-called 'parts daggers' for sale in numerous collector's publications. No matter how you cut it, these daggers are phony. They were not assembled, let alone used, during the period they purport to belong to, and many have newly manufactured parts. If a phony dagger sells for $100 under these circumstances (and it will shortly become an"original" for a much higher price) how can anyone not justify a price of $150 for an undisputed original? The dealer knows, or should know, what his merchandise is worth on the open market. There is a very limited supply of good, original pieces and an ever-growing collector interest in them. This is the economic law of supply and demand in operation for all to see. The collectors are competing for the supply and are actually bidding against each other for the right of ownership. The dealer who bases his prices on what the market will bear is no different from any other merchant in any other business. If he is wrong the piece won't sell - if he is right someone will buy it. When someone complains to me that my prices are too high, I know immediately that he is willing to buy at a lower price but I can not readily shave my price that much and still cover the overhead that I am operating under. I can not lower my price (thereby increasing the over-all loss) just to be a nice guy. It is totally impractical to ask me to.

There is also the possibility that the buyer who would like a piece "if the price were lower" is actually thinking of buying the item as an investment rather than as an addition to his collection and, with the eventual thought of selling the piece, figures that few other collectors will buy it if he has to pay full price for it and then subsequently add a profit figure for himself before moving it. I personally am unable and unwilling to help him become a dealer at my expense.

In conclusion, I would like to state a rather pragmatic test to determine if a dealer's price is truly "too high"; does the item sell? If so, the price was not too high. If it doesn't sell (and the dealer doesn't lower the price) could that really mean that the dealer doesn't honestly want to part with the item and, in order for him to do so, the buyer will have to part with a pint of blood?

Good Collecting!

Editor's note: Many who are collectors only and do not 'deal' really do not know what a hassle it is to deal, especially through the mail. Many people get into dealing by being a collector. Dealing is a way to offset the cost of their own collections. Others simply enjoy the dealing itself and for those it would be the same if they were dealing in old car parts or antique horse shoe nails. For some it is a chosen profession. But whatever the motive behind a persons becoming a dealer, the aim is still the same - Profit!

If a dealer doesn't make a profit in some way, he can't continue to deal.As for prices, if you say that they are too high, don't buy. The prices will either go down or someone else will get the goodies. Personally, I would rather pay a little more for an item from a dealer that I can trust and know that I have a good item than to take a chance at a lower price and not know the dealer. William Ringler

William Ringler: "Dealer Pricing", "Military Collectors Association - Journal, 1975

Treasure Hunt

Treasure Hunt for WWII Million Dollar Medals

"Kamerad, kamerad! Nicht schiessen!" (I surrender! Don't shoot!) 'This'was a'familiar phrase to countless thousands of victorious American and Allied GI's who fought across the hellish battlefields of Europe during WWI and WWII. It And this same frantic phrase has been uttered in their own Languages by'defeated Japanese, North Korean, Chinese and Viet Cong captives". Even before the bewildered prisoner has time to raise his arms above his head, 'the scrutinizing eyes of his captor rapidly shift from the Luger or Nambu pistol just removed from his defeated foe to the decorative medals worn on his uniform. Rather than leave such' choice "war booty" to his less deserving buddies in the rear area, who will further process the prisoner toward his ultimate destination in a POW camp, the GI immediately removes all medals and decorations and hastily puts them in the pocket of his field jacket. Days and often weeks after his unit is relieved from the combat zone and sent to an "R and R" camp, the proud captor mails his treasured war souvenirs home. Here they will probably remain forgotten, buried in obscurity in a battered GI footlocker, or perhaps later utilized as wall decorations for a den or family room. Often they are given to younger brothers and nephews as war souvenirs and traded off to admiring companions.

The oft-quoted axiom of war, "To the victor belongs the spoils" is highly appropriate when considering a topic of major interest to every soldier, regardless of nationality, who has ever seen combat. The topic? War souvenirs! It is a rare soldier indeed who fails to take advantage of every opportunity to acquire souvenirs of war and captured enemy equipment. Solders often take great personal risks in their attempts to gather souvenirs from the field of battle. In fact, the motivation is so intense that it has cost many GI's their lives, when they have thoughtlessly picked up a battlefield relic that has been booby trapped by a cunning foe.

The American soldier's obsessive seeking of war souvenirs has long been recognized by our enemies, who have demonstrated great skill in the art of rigging booby traps and explosive devices to tempting military items. During W.W. II, the Germans often wired explosive charges to the dead bodies of fallen German soldiers, whose uniforms were adorned with medals or other prized war booty such as binoculars or pistols. Large numbers of casualties resulted from unsuspecting troops eagerly attempting to remove these souvenirs.

Of course, not all such souvenirs are obtained at the risk of life and limb, nor are they all removed on the battlefield from captured high-ranking enemy officers. Often they are found in large quantities in storage depots and military camps which have been overrun or occupied after the fighting ceased.

Many intriguing tales can be told by ex-GI's who captured supply depots or quartermaster warehouses filled to the brim with unissued materials and equipment which included medals, daggers, firearms, and other highly desirable spoils of war. These items are not only sought after as souvenirs and conversation pieces, but also for trade or barter with servicemen who are not in combat and so cannot accumulate souvenirs. Frontline infantry soldiers learn early that their comrades assigned to rear areas will eagerly pay inflated prices for war trophies to send back home.

While most war souvenirs have much greater sentimental value than monetary worth, there are some items that are literally priceless treasures with historical or collector value placed at several thousand dollars. This fact is particularly characteristic of medals and rare decorations. Very few individuals, and even experienced collectors or dealers, possess a genuine knowledge of the value of foreign medals and decorations. One must have considerable background information before being capable of determining the difference between a common medal worth three or four dollars and a rare, presentation decoration or high order worth hundreds or even thousands of dollars.

Practically every American veteran of W.W. I and W.W. II mailed home or brought back military medals and decorations awarded by a wide variety of European and Asiatic governments. German medals and orders comprise the greater portion of foreign decorations to be found today in the United States; however, numerous Japanese and Italian medals can be found in this country.

The hobby of collecting military medals, insignia, and other battlefield-related items has undergone unparalleled expansion in the past 10 years, with hundreds of new collectors joining the ranks of long-time collectors each year.

The increased demand from collectors seeking to buy pieces missing from their collections has driven prices higher and higher, particularly for the rare and finer quality specimens. The choice and most lucrative source for a collector to obtain foreign medals and decorations to fill gaps in his collection is by purchasing them directly from a veteran who no longer places sentimental value on his accumulation of war relics. Many ex-GI's have turned their war souvenirs into cash by selling them to dealers or collectors involved in this rapidly expanding field.

In addition to possible monetary value, there is also a highly fascinating, historical association with military medals and decorations. Since they are representative awards of a national government, the majority of them are exquisitely crafted, beautiful works of art, worthy of display in a private collection or public musuem. Most major museums, including the Smithsonian Institution in Washington, D.C., possess outstanding collections of military medals, orders, and decorations.

Unfortunately, many beautiful pieces remain forgotten, hidden away in attic trunks, closets, and cellars where warweary combat veterans stashed them after the initial interest and pride of possession faded away. Without question, many rare and quite valuable medals brought back to this country after the war could now be converted into cash if their owners were aware of their value.

While most of the medals and decorations taken from captured enemy soldiers are of the more common, less valuable types, opportunities did arise whereby some extraordinarily lucky GI stumbled across a rare cache of highly valuable decorations and orders belonging to a ranking general or senior government official. Such was the case in 1945 when a young American infantry captain discovered all of the personal medals and high decorations awarded to Joachim von Ribbentrop, the infamous Nazi Foreign Minister appointed by Hitler. It was during the last days of W.W. II, when the victorious Allied armies were steamrolling through Germany and Austria in an attempt to deal the death blow to what remained of one of the most inhuman dictatorships in history. As the 44th U.S. Infantry Division seized and occupied the picturesque Austrian village of Umhausen, the problem of finding sufficient billets and sleeping quarters for the exhausted soldiers became critical. One enterprising American company commander directed his troops to seek temporary shelter in the luxurious Krone Hotel. Upon entering the hotel, the company commander and his soldiers were met by the Austrian innkeeper, who hastily informed them that he was very sorry but it was forbidden for anyone to occupy any of the hotel rooms on the second floor, therefore, the victorious "Amies" would have to seek overnight accommodations elsewhere. This blunt assertion obviously didn't set well with the American troops and their commander, who had just spent the past several months fighting their way into the homeland of a vicious enemy. Overcoming his initial impulse to gun down the arrogant innkeeper in his tracks, the captain then pushed him aside and proceeded to the a second floor of the hotel, where he was startled to find that all the rooms were on filled almost to the ceiling with trunks, clothing, and a wide assortment of personal possessions. Closer examination revealed what turned out to be one of the one most fantastic discoveries of the war, millions of dollars worth of art loot he stolen by the Nazis from Parisian and other European museums, including in jewels and rare tapestries, and classic oil to paintings by such renowned masters as Renoir and Rubens. Investigation revealed that the innkeeper had been given the task of storing and safeguarding the personal possessions and war loot longing to Foreign Minister von Ribbentrop, who was occupied elsewhere desperately trying to evade capture. Apparently Ribbentrop had planned to escape over the Austrian Alps into Switzerland, hoping to take his stolen treasures with him. In addition to the art treasures, several file cases containing official German government records were found in the hotel and turned over to exuberant to American Intelligence agents. These docheuments were later used as evidence at the Nuremberg war trials.

While conducting a thorough examination of the contents of the hoard, the he captain was astounded to find a large, custom-made leather carrying case containing every medal and decoration that had ever been bestowed upon Herr Ribbentrop. There were nearly 100 separate decorations neatly packed away in individual felt-lined compartments. Since these medals were of no Intelligence interest to higher headquarters, the captain's request to retain them as legitimate war souvenirs was granted.

Many of the decorations were made of fine gold and silver, some were inlaid with diamonds and other precious stones. They had been awarded to von Ribbentrop by numerous foreign governments, including Hungary, Finland, Denmark, Japan, Italy, Egypt, and Spain. Unfortunately for von Ribbentrop, he was tried, convicted, and hung at Nuremberg in 1945 as one of the 12 major Nazi war criminals and had no further opportunity to outfit himself in his gala dress uniforms or decorative medals. The total value of this exceptionally rare collection is estimated at over $40,000 in today's market. One of the medals included in the lot was the ornate, solid gold, Italian Annunciation Order presented to von Ribbentrop for his efforts in successfully negotiating the "Pact of Steel" alliance between Germany and Italy in 1939. This decoration alone is worth over $8,000!

It was a proud young captain indeed who carefully packed his newly acquired war souvenirs, including the medals, an assortment of Ribbentrop's dress uniforms, dress dagger and personal pistol, and mailed them home to the U.S. where they would be admired for years to come by his family and friends.

Many veterans who acquired war souvenirs during their period of military service often sell or dispose of them, since their sentimental value usually diminishes over the years. Many are given away as "junk" to collector friends, while others donate their collections to museums such as the U.S. Military Academy at West Point.

Prior to disposing of any war relic, an attempt should first be made to determine the approximate value in the current marker. Prices fluctuate with supply and demand; however, the general price trend of military medals and relics has been escalating over the past several years. Occasionally, a widely popular "fad" associated with military relics mushrooms overnight, and prices for specific items soar with the increased demand. A classic example was the recent enthusiasm among teenagers for wearing German Iron Crosses as "surfers medallions." The Iron Cross, or Maltese Cross, became a status symbol for "hip" youngsters, and the supply of original Iron Crosses rapidly vanished, while enterprising U.S. manufacturers frantically labored to produce millions of reproductions and cheap copies in an attempt to satisfy the fantastic overnight demand.

Another fad evolved with the wearing of W.W. II German steel helmets by motorcycle enthusiasts. A recent Hollywood movie, "The Blue Max," which glamorized the story of W.W. I German fighter pilots seeking to earn the coveted Pour Le Merite medal (nicknamed the Blue Max because of its blue enamel finish), generated an intense interest among collectors, as well as non-collectors, in acquiring Pour Le Merite medals. The price of this medal nearly doubled overnight, and medal firms in Germany and Austria were hard-pressed making restrikes to meet the sudden demand.

It's often difficult to find a reliable individual who can give an accurate appraisal of military medals or other war souvenirs. While reference books exist, they offer very little with regard to valuation. Prices are controlled by what a relic dealer will pay for an item he intends to resell for a profit and by how much a collector is willing to pay for an item he is seeking to fill a missing gap in his collection.

The first step for any individual wishing to sell a war souvenir is to make an exact identification of what his relic is. This includes country of origin, period, and precise designation of whether it is a medal or decoration. Only after a war relic has been accurately identified can the value be established. Assistance may be obtained from reputable local collectors and dealers. Often, antique shops or historical societies can render assistance in locating a potential buyer. Military museums usually have a list of reputable national dealers in military artifacts and are normally most helpful.

Several factors are very critical in determining the value of any medal or decoration. Rarity, of course, is the most important aspect. Condition also weighs heavily on the market value, since most high orders are delicately handcrafted of enamel or other fragile materials and damage devalues a specimen considerably. Cased medals command higher prices than those without cases. Also, signed award papers or documents certifying presentation of a decoration not only authenticates a piece but also enhances its value. Medals awarded to important historical personalities, when verified by documentation, always command a high premium. When considering values, a potential buyer should always first determine that a piece is genuine and not a reproduction or recent restrike. A word of caution at this point might prove to be invaluable to new collectors. Increased demand by collectors for foreign military orders and decorations has created a situation whereby many reproductions, as well as restrikes produced from original dies, are being turned out. Only an expert or experienced collector has the background and know ledge required to differentiate between an original piece and a reproduction, and even the experts often experience difficulry. Obviously, an original Pour Le Merite awarded to a German Air Ace in 1917 is worth much more to a collector than a recent reproduction. Reproductions of many rare, as well as most of the common medals and orders are being encountered with increasing frequency, and only years of experience or the expert guidance of a reputable dealer can preclude a novice or inexperienced collector from being misled. There is absolutely no objection to a collector buying a reproduction or restruck medal as a representative specimen for one that he can never expect to acquire in original form, providing he is informed by the seller prior to purchase that the medal is a restrike and not an original presentation award.

Condition also weighs heavily on the market value, since most high orders are delicately handcrafted of enamel or other fragile materials and damage devalues a specimen considerably. Cased medals command higher prices than those without cases. Also, signed award papers or documents certifying presentation of a decoration not only authenticates a piece but also enhances its value. Medals awarded to important historical personalities, when verified by documentation, always command a high premium. When considering values, a potential buyer should always first determine that a piece is genuine and not a reproduction or recent restrike. A word of caution at this point might prove to be invaluable to new collectors. Increased demand by collectors for foreign military orders and decorations has created a situation whereby many reproductions, as well as restrikes produced from original dies, are being turned out. Only an expert or experienced collector has the background and know ledge required to differentiate between an original piece and a reproduction, and even the experts often experience difficulry. Obviously, an original Por Le Merite awarded to a German Air Ace in 1917 is worth much more to a collector than a recent reproduction. Reproductions of many rare, as well as most of the common medals and orders are being encountered with increasing frequency, and only years of experience or the expert guidance of a reputable dealer can preclude a novice or inexperienced collector from being misled. There is absolutely no objection to a collector buying a reproduction or restruck medal as a representative specimen for one that he can never expect to acquire in original form, providing he is informed by the seller prior to purchase that the medal is a restrike and not an original presentation award.

For the purpose of clarity, it might be helpful to define the various categories of medals, decorations and orders. Medals are presented primarily to members of the armed forces for participating in a specific theater of operations or campaign, for wounds received or good conduce. Decorations are usually awarded as recognition for a specific brave or valorous ace. The Medal of Honor and the Silver Star are two examples of U.S. decorations awarded for single acts of extraordinary heroism in battle. Orders are bestowed upon a wide variety of individuals-heads of state, diplomats, royalty, senior members of the armed forces and scientists in recognition of performance of long and meritorious service.

In view of the fact that the majority of the medals brought back to this country by W.W. I and W.W. II veterans are of German origin, it might be worthwhile to briefly discuss the history of German military decorations.

During the period between 1871 and 1918, Germany formed a federation of states known as the Second Empire, and although vast quantities of medals and decorations were awarded during this era, none originated from the Empire but rather from the numerous separate principalities, kingdoms and dukedoms. Many variations from this period exist and a wide field is open for collectors.

Germany was a republic between 1918 and 1933 and no national decorations or orders were awarded; however, with the rise of Adolf Hitler to power, radical changes were made in the national policy of awarding decorations. In his new Third Reich, which was to last 1,000 years (it lasted 12), he initiated an intensive award program and created an entire new series of decorations and combat medals. Hitler realized that the citizens of the Fatherland rallied much more enthusiastically to a nationalistic cause when provided with splendorous uniforms and individual recognition through awards and decorations. On the first day that the war began, September 1, 1939, Hitler again re-established Germany's most renowned medal, the Iron Cross, which had its origin in" 1813. This symbol of German military involvement throughout the course of modern history had been modified in 1870 and again in 1914; therefore, tradi tion demanded that it be reborn with the creation of a new Nazi Germany. In fact, Hitler was personally decorated with the Iron Cross on two separate occasions while serving as a Corporal in W.W. I.

The Iron Cross is the most widely known of all German decorations, and likewise the most common. The Second Class, or lowest grade, is worth about $ 5 in today's market. The highest class of the Iron Cross, with oak leaves, swords, and diamonds set in gold, would be worth approximately $5,000 to a collector.

With the onset of the war, Germany created a vast new series of combat decorations and medals for all branches of the armed forces, in addition to proficiency awards and faithful service medals for non-military members of the Nazi Party. In 1938, Hiter founded the now famous "Mother's Cross" for the purpose of honoring German mothers who bore four or more children for the Fatherland. Women who had eight or more children were awarded the medal in the First Class, in gold. The combat badges, which were awarded by the millions, are quite plentiful even today, and only a very few are worth more than a couple of dollars.

As a service for the readers of SAGA, a member of the widely recognized Orders and Medals Society of America, who is also a reputable dealer in foreign military decorations and war souvenirs, has agreed to appraise, with out charge, the medals, decorations, or other war souvenirs of any reader who might wish to cake advantage of this opportunity.
See page 11 for complete details.

Undoubtedly, untold hundreds of GI's stumbled across rare finds of valuable enemy medals and war souvenirs, which were mailed back home and have lain forgotten for many years. Somewhere in this country, the jeweled decorations of Nazi Reichsmarshal Hermann Goering and other senior Nazi and Japanese military leaders are perhaps stored in the corner of a footlocker. Only recently the complete von Ribbentrop collection of decorations and uniforms was located and purchased for a very sizable sum.

While readers should keep in mind that about 95 percent of the foreign military medals they might have are not worth more than a couple of dollars, it is inevitable that numerous veterans still have in their possession captured decorations that could be sold for a small fortune. Now-take another look in those dusty attic footlockers, and desk drawers that haven't been opened in years. You might be surprised to discover that you own a rare war souvenir that can be converted into cash. These items are very much in demand, and dealers and collectors are always available, with money in hand, seeking to acquire your war souvenirs. While most have much greater sentimental than cash value, they should never be regarded as worrhless junk.

These medals and decorations represent a nation's highest recognition of valorous deeds or faithful service performed while exposed to great danger or stress. They are a very significant parr of history and grim reminders of the horrible tragedy of war.

Jim Atwood: "The Hunt for WWII Million Dollar Medals", "SAGA" 1967

Collecting on a Budget

Somewhere there is a line between "getting a good buy" and "ripping off the rube". Where that line lies is beyond the scope of this article. I'll let you decide, and determine which side you want to stay on....

I wrote this article 30 years ago. Times have changed, but I think most of the ideas are valid today. It would be interesting to see a follow-up on this written by one of you. If interested, just email me.


COLLECTING ON A BUDGET

Although most of us build our collections by trading with collectors and dealers, there are many in our fraternity who have been able to put together a very fine grouping of Nazi items by purchasing from noncollectors. Even at this late date there is a vast quantity of all types of militaria in the hands of vets, their families and friends. If you have never made any attempt to contact any of these people, you are perhaps missing out on some very good opportunities. There are many ways to go about finding the goodies.

First, and most obvious, is by asking around amoung your friends, relatives, co-workers etc. This won't take long to do, and before long you will know if there is anything out there, after that, it takes a little more work and effort. The best bet is to advertize in some of the local newspapers and neighborhood publications such as the trade sheets. I've been at this for quite some time and have met with some successes, and I can assure you that it has very definately been worthwhile. Over the years I have learned a couple of things about this type of collecting and I would like to pass on some tips to any of you who want to try it.

First and formost, NEVER NEVER use the word "NAZI" in an advertisement! That will guarantee some calls from screwballs and weird-o's! Also, I suggest you "buffer" your ad by requesting other types of militaria, whether you collect it or not. A good example is WANTED: War Souvenirs from Japan, Germany and Italy" or "U.S., Japanese and German war relics of all types wanted". By including the other countries you appear to be a military collector and not a "Nazi sympathizer". When you receive a phone call try to get as much information about the items as possible. Ask about where the caller got them and verify that they didn't come from the flea market, caus' if they did - they're probably going to be junk or fakes: Remember that you are talking to someone who probably knows nothing about this type of thing, so when the old lady on the phone tells you she has a "Nazi Colonel's cross with "Der Deutschen Mutter" on it, don't break into hilarious laughter. You are going to find that people have some strange ideas about these things and the best way to handle it is to take them seriously now and laugh later when you have the goodies.. After you have got enough information to determine that they have something worth going after, try to make an appointment to see it. It is very important to make the appointment as soon as possible, don't waste a lot of time on the phone getting more details, get them to let you come see it, and if it can be that same day, all the better. As the saying goes--strike while the iron is hot-- the longer you wait the less your chances. Many people will ask you about the value of items on the phone. My advise is NEVER EVER price an item before you have seen it, because the chances of misidentification are too great and that can blow it for you. If you thought it was a Knight's cross and its only a 2nd class IC, then you've made a fool of yourself and have to try to explain your "slight" error, which is almost impossible. When you visit the person with the goodies, be patient and if they want to tell war stories, let them, this will get you on a friendly basis. Offer NO information about the items, but if they ask, answer the questions with a minimum of info.. The more you tell them, the more they are going to think the stuff is worth, and I presume you will want to try to buy it as cheaply as possible. If there are several items, try to avoid priceing them individually and make an offer for the group. Of course it is better if you can get them to tell you what they want for the stuff, but you will find that they usually will tell you that they don't know anything about it and want you to make an offer. Naturally, I suggest you make that offer as low as possible, but try to make it high enough so they will accept your first offer. It is very bad to have to raise the offer because this will give them the idea that you are holding out on them and can make it even more difficult for you to pry the items loose. IF THEY EVER GET THE IDEA THAT THE ITEMS ARE WORTH SOME "REAL" MONEY" you're sunk. I don't wish to sound like a con-man but thats the way it works.

Some final thoughts: Always take cash, not checks, and when I make an offer I take the cash out of my wallet so they can see it (you sly devil you). Never show a special interest in any one particular item, look at all of them equally, if you stare too hard at one piece, they might decide to let you have the rest and keep the one you really want. If you are going to run a "display ad" the sports section is the best. Never mention another collector to them, try to give the impression that you're the only source of cash around. And finally, prepare yourself for a lot of useless phone calls. If you're lucky, you might get something good from one in every ten calls and something great in one in a hundred. Patience is what it takes, but if you hang in there and keep trying, something will eventually turn up and it will all have been worth it....

Bob Treend: "Collecting on a Budget". 1977, Der Gauleiter