i think this post rounds second and hasn't reached home yet.
let me add ...
1) The cuemaker's name is the primary factor. yes but their name becomes nothing if they don't they earn it for themselves. There are a score of cuemakers out there who make a quality product and can sell their cues locally on a certain price scale. However, when you travel too far out of their local area, their name is unrecognized and thus, they are deemed an "unknown". People aren't willing to pay top dollar for unknowns. this to me is not entirely true. if a maker makes an unique great product it can span the distances and connect local to non local areas. this is what separates the knowledgeable "cue player/collector", who seek these makers out sometimes with very little effort, from the rest.
As well, there are numerous high-dollar, highly collectible cues out there that are not as ornate in design as others. Why? Because they have established themselves as cuemakers who are known for making top-notch playing cues. For example, South West or Bluegrass are two cuemakers who come to mind. Their designs are not as cutting edge as others. for southwest cues now that maybe true but i hope you're not lumping in work before jerry's passing. the design work then was very unique and on many cues quite intricate to execute. many makers make great playing cues. it's the ones that try to take the work to another level that can possibly enjoy the big spoils. Some might even refer to their cues as "ugly" (not me though. i love Bluegrass cues!). maybe bluegrass but to this date i've not seen and ugly SW. Still, these cuemakers have built a name based on the extremely solid playability of their cues. name any "name" maker who has not built their name up first by building a cue that plays well. Thus, the price skyrockets as the demand rises. this also doesn't hit the mark exactly either. i know makers who's cues are revered around the us and abroad who's values, thought of on this site at least, are brought down out of ignorance to their work. it's not because of their geography but to the fact some choose not to do the research many collectors and players do to find the facts.
2) Craftsmanship and design are also some things to take into account. And this is more than just even points and veneers, inlays, and ringwork. This comes down to the construction of your cue (but these things are also not to be overlooked). Do the rings pop? Is the finish solid? Is the cue constructed with extreme care? What are the wood choices? What is the figure like? Finally, how did the overall design turn out? i agree, among many other aspects of their work these are things that, like i said with the right research, can be found out rather easily and bring a better understanding of why perceived values are what they are.
You can have the best design in the world, but if you can't execute it, well that sort of defeats the purpose. Its definitely going to affect the value. As well, you can have incredibly machining abilities. But if all you can do is a plain jane or a four pointer with unever points and bad inlays, this too will affect the value of a cue. if you have "incredible machining abilities" i don't think you will have any problem with some of these you've mentioned.
3) Supply versus demand is what dictates the value of anything in any market. Cues are no different. yes but you need to use the aforementioned criteria and also take into account the "caped" perceived value. meaning it all depends on the type work being done. a more simple cue will have somewhat of a "ceiling" on the price whereas a more intricate one could be more hard to value and command a big price tag. South West charges close to $2,000 for a six point cue with rings. Now you can get a cue from other cue makers for half that price, but will it play like a South West? there are many makers that can do the same work and make them play comparable. in this rare case this is where your initial statement of name really holds true. When you tire of the cue and you try to sell it, can you get what you put into it (or in some cases even more)? South West, Richard Harris, Joel Herceck, Bill Schick, Ernie Gutierrez. These are just some of few cuemakers out there who command top dollar on the second hand market. Why? Because their cues can be difficult to come by. For starters, if you were to order a cue through Joel Herceck or the South West shop, your name goes on a list for 8 or 9 years. When that time is up, then you get a call and they start working on your cue. In the case of Richard Harris, you can't even order through him anymore. So, you have to buy on the second hand market.
Now, these guys have wait lists of 8 years for a reason. Positive word of mouth. The demand excedes what the cuemaker can put out each year. These are cue makers who's cues cues can maintain or even actually appreciate in value.
4) Materials that are used is another element however, it does go hand in hand with design and craftsmanship. For example, many people like ivory in a cue. If the design is pulled off well, it can and often does look gorgeous. But when you make a cue out of solid ivory, you have to be really careful. I can recall one such incident in which a cuemaker of rather high esteem built a cue out of solid ivory with a few carvings in it. The design was (IMO) lackluster and the craftsmanship was NOT of top caliber. Thus, the cue cracked once it hit colder air. how do you know it was the craftsmanship that caused the ivory to crack? there are allot of reasons why ivory will crack. some by no fault of the maker. Conversely, a cuemaker like Paul Fanelli will steer away from inlay material more often then not. Instead, he'll use beautiful combinations of exotic woods with designs that are unique and beautiful. This are things that add to value. imo the reason why paul's cues are sought after is not so much the material but his execution with it.
lol.