Market analysis of library card catalogs in 2023

As card catalogs lost their functionality in libraries and were de-acquisitioned there was a wave of nostalgia which caused people to purchase them, often in auctions, at higher than expected prices. Once they had them, most of these purchasers realized that they didn’t have functional uses in their homes for them (beyond wine or liquor bottle storage, small crafts, or use as a zettelkasten, which seem to be the only reasonable upcycling use cases I’ve seen and the last seems to be very rare and niche). They sit and take up space for very little value in return beyond some esthetic beauty and nostalgia. As a result many soured on their ownership. Most owners naturally want to recoup their original purchase price thinking that relative rarity will save them.

Combined with this there was a resurgence in mid-century design esthetic which had some furniture restorers and designers buying and doing full (and very pretty) expensive restorations of older 20s-40s versions which sold at auctions for $4,500 and up. Given the rarity of some of these older, fine furniture versions along with the work in restoration and the limited market only those who had a tinge of nostalgia and money to burn made purchases which resulted in a limited number of actual sales.

These two factors mean that almost all of the listings for library card catalogs are heavily overvalued on eBay, Facebook Marketplace, Craig’s List, Etsy, etc. The fine furniture restorations have set an artificially high price point which some feel theirs must match as well. The difference in quality however is stark. Because of their size and lack of functionality, there is a relative glut of them on the market which all bear inflated prices. Those who originally spent inordinate amounts for them, feel they will still have that same value to others, so they list them online for inflated prices.

I’ve been closely watching the online “market” for them for over a year and see the same several dozen or more listed across the country usually in the range of about $30-$60 per drawer. Many are listed as local pick up only, which further hampers the overall market. This also brings up the issue of shipping a 60 drawer card catalog which can easily run in the $800-$1,500+ range which usually requires additional shipping logistics involved with freight. Most catalogs are already overpriced, but adding an additional $1000 tax on top is a bridge too far for all but the highest end of the market. Some platforms like Etsy and eBay which take cuts of the final sale also add to the cost of the sale (at least to the owner).

In the year and a half or more that I’ve been watching, I’ve only seen a handful of actual sales, all of which were local, and many of which were in the Los Angeles area. All of these sales have been for listings which eventually were reduced down to the $15 per drawer range. One local sale was in Wisconsin was for $10 per drawer (a 30 drawer file) and another in Los Angeles was for $12.50 per drawer (on a 20 drawer file).

A bottle of red wine nestled into a drawer of a library card catalog

A note on condition

Outside of a small handful of fine furniture listings in the $4,000+ range, most ex-Library card catalogs are generally very well worn and not in great condition which makes them less valuable as decoration pieces. In fact, many are often missing their original card catalog rods, have dents, dings, or other cosmetic issues. Some are missing drawers or have replacement drawers which don’t match. Some may be slightly mismatched having been purchased in different eras as modular pieces and put together. Frequently they have been modified from their original states to include inserts or other material to fill in the holes which where almost standard in the bottoms of the drawers.

Advice

If you’re in the market, know that it is tremendously inflated, a fact which most sellers are aware of as they’ve got them listed, some for many years, not resulting in actual sales. If you really want one and find it in a reasonable condition, I highly recommend making an offer for it at about $10 per drawer and potentially go up to $15. Anything higher than that is overpaying based on actual recent market conditions. If you have the money to burn, feel free, but keep in mind that like many others in the past, once the initial nostalgia has passed, you’ve probably got a large piece of relatively non-functional furniture in your home.

It’s not common, but some government auction sites will list card catalogs for auction from time to time. Because they actively want to sell them these can be purchased in the $2-10 per drawer range or less. Often they tend toward the larger 60+ drawer range, aren’t in good condition, or need to be picked up and shipped to your final destination, usually within a few days of purchase as the original owners don’t or explicitly won’t handle shipping. These are likely to need some restoration work to be decorative pieces in many homes.

If you want something brand new, you can check out Brodart, which is the only remaining card catalog manufacturer/sales firm I’m aware of in the United States. Their systems are modular, so you can pick and choose what you’d like to have. The only caveat is that they start at $1,700 for their smallest 9 drawer model and can go up to $11,648 (plus shipping) for a full 60 drawer model. The other potential drawback, for some, is that they are made of a mixture of wood, metal and plastic versus the all wood and metal fittings of older vintage models.

If you’re in the market primarily for nostalgic reasons, then you might also consider looking at some of the older desktop wooden card catalogs which are often much less expensive, take up far less space, and can be wonderfully decorative. Some of the smaller two to six drawer desktop models have the benefit of potentially serving as recipe boxes or paper rolodexes, zettelkasten, or simply small office storage. Here again, the online markets are likely to be heavily overpriced with 2 drawer models being continually listed at $150 and 4 drawer models in the $250-400 range. These sellers know that these prices don’t result in actual sales as they’ve been sitting on them for long periods of time (presumably hoping to get lucky). Here I’d recommend you make offers in the $20-30 per drawer range to see what you can find. Another benefit is that these smaller models are far cheaper to ship across the country. For additional advice on these, see: The Ultimate Guide to Zettelkasten Index Card Storage.

A two drawer wooden card index sitting on a wooden table

1948 Smith-Corona “Clipper”

Childhood Typewriters

I’ve had a hollow space in my chest where a typewriter wanted to be. I’d had a few inexpensive plastic ones in my childhood before having a really spectacular Smith-Corona, but I thought that through many moves it had been long lost. Until, that is, I visited my parents on spring break this past week. While going through some old papers and boxes, I ran across a dusty, but stunning old jewel from my youth. 

Hiding in a corner of memorabilia was a hard black box which I immediately recognized as my old portable typewriter! I recall my parents having purchased it at a yard sale and bringing it home for us kids to use in 1984. It took a while back then to clean it up, but I used it for a variety of school projects and papers for several years until its use for school papers was later taken over by an electronic Panasonic word processor. Despite the newer technology I still preferred that old typewriter for composing and noodling around.

Ooh, my little pretty one, my pretty one

So, what is this fantastic jewel? It’s a 1948 Smith-Corona “Clipper” 4C (serial number 4C-242370). It’s still in spectacular shape. I had to re-connect the letter “A”s linkage joint, but all the keys still work well, and it’s going to need a new ribbon. The interior is a bit dusty and needs some cleaning, but a short afternoon of tinkering should make quick work of any issues. 

Oblique angle down on the top of a black Smith-Corona Clipper sitting on a brown wooden tabletop.

What’s fascinating is that all of the parts and functionalities of the machine came back to me instantaneously when I touched it. I knew all the small subtleties of sliding in a sheet of paper and aligning it to perfection. All the small niceties like the single/double space switch, the margin adjustments, the lovely bell, the ribbon direction adjustment switch, and even the centering mechanism were right there at my fingertips.

Rear view angle of the carriage return on the Smith-Corona Clipper with a view into the internals featuring the bell. The apparatus could be cleaner and features some use and dust build up on the oiled metal.

Sadly the original key wasn’t with the typewriter’s lock, but it was easily pickable. I’m reasonably sure the key will turn up as I dig through my other childhood memorabilia in the near future. At the worst, I can probably print a new key using a recipe I’ve already found online. I even unearthed a roughly contemporaneous typewriter manual for the Smith-Corona Clipper model

And the best part is that a young 12 year old was drawn to it and immediately wanted to use it and take it home with us, so the typewriter obsession may go on for at least another generation.

I can’t wait to begin using my new (old) tool for thought in my zettelkasten practice. I’m curious to see what the slow down effect of a manual typewriter has on my writing and thinking work. Perhaps the composition of my cards at the end of the day will have the added satisfaction of punching the keys of a fantastic typewriter.

Typed 3 x 5 inch index card. The top title in red ink reads "The Power of Information" with the following quotation: 
No piece of information is superior to any other. Power lies in having them all on file and then finding the connections. There are always connections; you have only to want to find them. --- Umberto Eco, Foucault's Pendulum

If nothing else, the Clipper does look quite nice next to my Shaw-Walker card index which is from the same era.

Desk level view of the front of a Shaw-Walker wooden card index tray next to a black typewriter.

Ultra-luxury of the “Clipper”

Just where does the Smith-Corona “Clipper” sit in the pantheon of typewriters? A variety of writers in the 21st century still talk about their love and nostalgia of specific typewriters mentioning the design esthetic of the Olivetti, a remembrance of an old Underwood, or their fondness of a Remington, but I think Tom Hanks sums things up pretty well:

This is what I would suggest: if you wanted the perfect typewriter that will last forever that would be a great conversation piece, I’d say get the Smith-Corona Clipper. That will be as satisfying a typing experience as you will ever have.
—Tom Hanks, actor, producer, typewriter enthusiast and collector, author of Uncommon Type on CBS Sunday Morning: “Tom Hanks, Typewriter Enthusiast” [00:07:30]

Close up of the Clipper logo on a Smith-Corona typewriter. It features a red outline of the small single wing, four engine airplane with the word "Clipper" underneath it  underlined with red waves so as to make the plane appear to be flying over water.

Of course Hanks comes by this analysis naturally as the Clipper typewriter’s namesake is the Boeing 314 Clipper, which appears prominently on the front left panel of the typewriter’s cover. The context and history of some of this airplane have been lost to current generations. Twelve of these air yachts were built by Boeing and operated for a decade between 1938 and 1948. Nine of the airplanes were operated by Pan-Am as transoceanic “one class” ultra-luxury air travel featuring lounges, dining areas with silver service for six-course meals from four-star chefs served by white coated stewards, seats that converted to sleeping bunks for overnight accommodations, and separate male and female dressing rooms for the comfort of elite businesspeople and wealthy travelers in the mid-twentieth century. As an indicator of the exclusivity and expense at the time, a one-way ticket from San Francisco to Hong Kong on the Clipper was listed for $760, which is equivalent to about $15,000 adjusted for inflation in 2021 (Klaás, 1989, p. 20).

Pan Am’s Clipper service of the 1940s represents the romance of flight in that era in the same way Smith-Corona Clipper represents the romance of typing in the ensuing decades. Most Americans’ nostalgia for the luxury and exotic freedom of airline flight in the 1960s and 1970s was built on this early experience operating the Clipper nearly 20 years before.

Reverse view into the opened Smith-Corona Clipper featuring a close up view of all of the type face and levers. Just visible at the top are a side view of the keys on the front of the typewriter.

Typeface sample

Library card catalog card with the typewriter's year, make, model, serial number and samples of all the slugs and the pangram sentences "the quick brown fox jumps over the lazy dog." and "A VERY BAD QUACK MIGHT JINX ZIPPY FOWLS."

 

References

“Tom Hanks, Typewriter Enthusiast.” CBS News Sunday Morning. CBS, October 15, 2017. https://www.youtube.com/watch?v=UTtDb73NkNM.

Klaás, M. D. (December 1989). “Clipper Across the Pacific, Part One”. Air Classics. 25 (12).

Acquired Scotland Yard (Ravensburger)

It’s a covert game of cat and mouse set on the streets of London! Criminal mastermind Mr. X has escaped Scotland Yard and it’s up to you, the detectives, to catch him! Use your travel tickets to anticipate his movements, chasing him by taxi, bus, and underground, around Picadilly Circus, along the River Thames, and through Paddington Station. Will you apprehend this dangerous criminal or will he disappear in the London fog?

How to Play:

1. Choose a Mr. X and give that player a player piece, travel log with cover, and special travel tickets. Give the remaining players – the detectives – their player pieces and travel tickets.

2. Players draw cards indicating the number of the station where they will begin play and place their player pieces on those stations. Mr. X draws a card indicating his starting space and notes it in his travel log without placing his player piece there.

3. Players take turns selecting the appropriate travel tickets (taxi, bus, underground) to move them from station to station, anticipating Mr. X’s arrival. Mr. X notes his moves in his secret travel log, surfacing only on specific moves but revealing the ticket he uses to get to his next undisclosed location.

4. Players work together to anticipate where Mr. X will surface next and beat him to that station.

5. If a player piece is on the station Mr. X noted in his secret travel log, that player wins the game. If all players use all travel tickets without capturing Mr. X, Mr. X wins the game.

Recommended Age: 8 and up
Players: 2-6
Play Time: 45-60 minutes
Includes: 1 game board, 6 playing pieces, 29 start tickets, 130 tickets for different means of transportation, 1 travel log for Mr. X, 1 visor for Mr. X, 2 inserts, 2 rings for bobbies

Purchased from Puzzle Warehouse. Should arrive in a few days via ground shipping.

I got an original version of this when I was about 10 and remembered loving it.

Read The Surprising Status of the 'Full House' House—Now Available for $6M (Real Estate News and Advice | Realtor.com®)
After being bought by the show's creator, the iconic Victorian home in San Francisco is back on the market for $7 million—sans the "Full House" interiors.
I figured it would be expensive, but not this expensive. We’ve been watching Fuller House passively in the background for a few days.

👓 Why celebrity gossip blogs refuse to abandon Livejournal | The Verge

Read Why celebrity gossip blogs refuse to abandon Livejournal (The Verge)
The unchanging aesthetic of Crazy Days and Nights and DListed is a form of time travel
A few interesting points, but it actually is appealing to the sort of nostalgia it is cautiously against.

🎧 Episode 2: Restoration | Clevercast

Listened to Episode 2: Restoration by Jonathan LaCourJonathan LaCour from cleverca.st
This time, on clevercast, I reminisce about one of my earliest personal websites. What happened to its content? How did I create it? Is there any chance of restoring it back to greatness?

I’ve still got a ways to go to recover some of my older content, but Jonathan has really done some interesting work in this area.

👓 Old School: Torpor and Stupor at Johns Hopkins | 3quarksdaily

Read Old School: Torpor and Stupor at Johns Hopkins by Bill Benzon (3quarksdaily.com)

Also known as Tottle and Stutter. But the real name was Tudor and Stuart: The Tudor and Stuart Club.

The Tudor and Stuart Club was a literary society at The Johns Hopkins University in Baltimore – yes, they insist upon that “the” before “Johns” – and I was the club secretary for several years back in the late 1960s and 1970s. I don’t know just how that honor came to me. But I’d taken many literature courses as an undergraduate, half of them or so with (the now legendary) Richard Macksey and the others with members of the English Department: Earl Wasserman, Donald Howard, D. C. Allen, and J. Hillis Miller. They must have decided that I had a future as a literary critic and so deserved this honor, though, naturally, it came trailing a few pedestrian duties. I was pleased. I’m pretty sure it was Dick Macksey who told me.

This seems like a solid story from the late 60’s/early 70’s for inclusion into the pantheon at Hopkins Retrospective.

Reply to Laying the Standards for a Blogging Renaissance by Aaron Davis

Replied to Laying the Standards for a Blogging Renaissance by Aaron Davis (Read Write Respond)
With the potential demise of social media, does this offer a possible rebirth of blogging communities and the standards they are built upon?
Aaron, some excellent thoughts and pointers.

A lot of your post also reminds me of Bryan Alexander’s relatively recent post I defy the world and to go back to RSS.

I completely get the concept of what you’re getting at with harkening back to the halcyon days of RSS. I certainly love, use, and rely on it heavily both for consumption as well as production. Of course there’s also still the competing standard of Atom still powering large parts of the web (including GNU Social networks like Mastodon). But almost no one looks back fondly on the feed format wars…

I think that while many are looking back on the “good old days” of the web, that we not forget the difficult and fraught history that has gotten us to where we are. We should learn from the mistakes made during the feed format wars and try to simplify things to not only move back, but to move forward at the same time.

Today, the easier pared-down standards that are better and simpler than either of these old and and difficult specs is simply adding Microformat classes to HTML (aka P.O.S.H) to create feeds. Unless one is relying on pre-existing infrastructure like WordPress, building and maintaining RSS feed infrastructure can be difficult at best, and updates almost never occur, particularly for specifications that support new social media related feeds including replies, likes, favorites, reposts, etc. The nice part is that if one knows how to write basic html, then one can create a simple feed by hand without having to learn the mark up or specifics of RSS. Most modern feed readers (except perhaps Feedly) support these new h-feeds as they’re known. Interestingly, some CMSes like WordPress support Microformats as part of their core functionality, though in WordPress’ case they only support a subsection of Microformats v1 instead of the more modern v2.

For those like you who are looking both backward and simultaneously forward there’s a nice chart of “Lost Infractructure” on the IndieWeb wiki which was created following a post by Anil Dash entitled The Lost Infrastructure of Social Media. Hopefully we can take back a lot of the ground the web has lost to social media and refashion it for a better and more flexible future. I’m not looking for just a “hipster-web”, but a new and demonstrably better web.

The Lost Infrastructure of the Web from the IndieWeb Wiki (CC0)

Some of the desire to go back to RSS is built into the problems we’re looking at with respect to algorithmic filtering of our streams (we’re looking at you Facebook.) While algorithms might help to filter out some of the cruft we’re not looking for, we’ve been ceding too much control to third parties like Facebook who have different motivations in presenting us material to read. I’d rather my feeds were closer to the model of fine dining rather than the junk food that the-McDonald’s-of-the-internet Facebook is providing. As I’m reading Cathy O’Neil’s book Weapons of Math Distraction, I’m also reminded that the black box that Facebook’s algorithm is is causing scale and visibility/transparency problems like the Russian ad buys which could have potentially heavily influenced the 2017 election in the United States. The fact that we can’t see or influence the algorithm is both painful and potentially destructive. If I could have access to tweaking a third-party transparent algorithm, I think it would provide me a lot more value.

As for OPML, it’s amazing what kind of power it has to help one find and subscribe to all sorts of content, particularly when it’s been hand curated and is continually self-dogfooded. One of my favorite tools are readers that allow one to subscribe to the OPML feeds of others, that way if a person adds new feeds to an interesting collection, the changes propagate to everyone following that feed. With this kind of simple technology those who are interested in curating things for particular topics (like the newsletter crowd) or even creating master feeds for class material in a planet-like fashion can easily do so. I can also see some worthwhile uses for this in journalism for newspapers and magazines. As an example, imagine if one could subscribe not only to 100 people writing about , but to only their bookmarked articles that have the tag edtech (thus filtering out their personal posts, or things not having to do with edtech). I don’t believe that Feedly supports subscribing to OPML (though it does support importing OPML files, which is subtly different), but other readers like Inoreader do.

I’m hoping to finish up some work on my own available OPML feeds to make subscribing to interesting curated content a bit easier within WordPress (over the built in, but now deprecated link manager functionality.) Since you mentioned it, I tried checking out the OPML file on your blog hoping for something interesting in the space. Alas… 😉 Perhaps something in the future?