Regarding the Battle of Britain panel, a few people have mentioned its historical connection, but nobody has yet mentioned the huge difference that may make in price. The Battle of Britain took place before the US was involved in the war, so some may not understand its importance, or the enormous emotional impact it had - and still has, both for the millions that lived through it and, I think, for many who came afterward and know the story. The images on the panel speak to that emotion.
Anything will sell at a higher price if more people want to buy it, and the market for a B of B panel will not just be us little old lacemakers. There are lots of B of B memorabilia collectors out there who would be interested, and the scarcity of the panel, which Devon mentioned, will just increase the price again.
(By the way, Devon, the information I've read says a panel was given, not to one of the Allied Nations, but to nations of the British Commonwealth that were involved in the war - I rather think the US didn't get one, though that's not to say no wealthy American has bought one in the aftermarket, so you may find one in the States after all.)
I suppose my point is that the subject matter takes the panel out of the Machine Lace category and puts it somewhere else, outside the realm of textiles.
Regarding Devon's criteria suggestions, I think design would be the most important factor, as that is what the market reacts to the most.
I am reminded of a piece on the (British) Antiques Roadshow, where someone had a beautifully painted picture by a well-known artist, but, as the expert explained, "the subject matter was not decorative." In fact, it was a picture of a very dead bird, its broken neck hanging down off the table. It oozed death. No matter how well painted, no matter whose name was involved, it was basically not a marketable painting, and had comparatively little value.
I agree with Ilske that the fineness of the lace and the attention to detail will make a difference, as that fineness is what people, even non-lacemakers, greatly appreciate about lace. I'm not sure that close mimicry of handmade lace is a factor, since in order to appreciate that you would have to know all about handmade lace and so few people do.
The same consideration goes for Devon's suggestion of "Exception Use of Machine Lace Technique." How many people, even those who know lace, can look at a piece and say "Aha! - An exceptional use of machine lace technique!" We don't know what the techniques are and neither does the non-lacemaking section of the market, so I doubt that would be much of a factor in price.
The question of scarcity is interesting. Very few pieces come with the information of how much of it was made. With machine lace, scarcity mostly cannot be known, and in fact it can usually be assumed that a lot of lace of any particular design exists, since the major cost was in designing and setting up the machine to make it - after that you could go on making it for little extra cost, as long as your supply of thread held out. And, most were repeat patterns - if you have a yard of it that you think is scarce, one snip of the scissors means you now have twice as many pieces! Most lace collectors are content to buy short lengths of lace for the designs, or snippets for crazy quilts, and small decorations and have no special desire to buy, say, 5 yards when six inches will do, so one 5-yard piece can quickly satisfy 30 buyers. A bit sad, but true.
One criteria Devon didn't mention is, of course, Condition. Staining, deterioration of the threads, holes and other problems reduce the decorative appeal, the owner's appreciation of the design and the useful life of the piece.
Just my 2 cents
Adele North Vancouver, BC (west coast of Canada)
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