The History of Christmas Ornaments
By Martin Swinton

History of Ornaments

In A.D. 336, an early Roman calendar first mentions December 25 as the date of Jesus’ birth. This date was likely influenced by the year-end pagan festivals to celebrate the harvest. Celebrations included specially prepared meals, decorating of homes, gift-giving and singing. Gradually, pagan traditions became a part of the Christian celebrations. Most Christmas traditions such as the Christmas tree and ornaments came from central Europe. The earliest German Christmas trees were decorated with food; apples, onions, pears, nuts, candies, and fruits were placed on a tree.

In the 1800s, glass ornaments were first made in the Lauscha, Germany. This cottage industry involved the entire family. Generally, men did the glassblowing, women did the silvering and the children helped to paint and finish them. These beautiful new glass ornaments began to replace edible decorations.

In Victorian times, Queen Victoria’s husband, Prince Albert, a German, brought the tradition from Germany to his new home in England. Soon all of England was in on it.

In the 1840s, Europeans immigrating to North America brought with them their Christmas traditions. Prior to that time, Christmas was not widely celebrated in North America. As society became more prosperous, ornaments became larger in size and the colors become more vibrant to reflect the new wealth.

F.W. Woolworth was the first North American retailer to sell glass ornaments. The story goes that he was not too sure about this new product line. However, Woolworth changed his mind by 1890 when he was selling $25 million worth of ornaments in his five-and-dime stores.

Until 1925, virtually all hand blown glass ornaments were manufactured in Lauscha, Germany. By 1935, more then 250 million Christmas ornaments were being imported to the United States. After WWII, the Lauscha area became a part of East Germany. Many glassblowers fled to West Germany and the industry declined. Around this time, Japan and Czechoslovakia began producing ornaments for the North American market

In the 1960's, glass ornaments went out of fashion when the aluminum tree adorned with ornaments of similar shape and color became the rage. Many traditional ornaments were thrown away during this period.

What to Look for in Antique Ornaments

If you’re lucky enough to still have any vintage ornaments, hang on to them.

How to tell vintage versus new. Earlier ornaments were smaller than today’s modern ornaments. They were usually done in soft colors with hand painted details. You’ll notice that the paint may be faded or distressed in areas on vintage ornaments.

Hand blown versus machine made. Remove the stem from the base of the ornament. Ornaments that are hand blown will have an uneven base because the glass blower cannot make a clean break. Modern machine made ornaments will have a smooth even base.

Where to find vintage ornaments. Ebay, flea markets, church sales and garage sales are all good hunting grounds for vintage ornaments.

Prices

Prices can vary from $2 - $200 depending on the ornament and where you buy it.

Symbolism

Fruit and vegetable shapes symbolize the harvest.

Birds represent the biblical messengers that bring God's love and peace to the world. Birds were also symbolic of good luck and good fortune.

Pickle shapes signify luck.

Fish shape is an early Christian symbol for Christ.

Reflectors ornaments (ornaments with geometric concave indentations) during Victorian times, were often called witches eyes and were placed on the Christmas tree to fend off any evil spirits.

Star shapes represent the Star of Bethlehem.

Martin Swinton owns Take-A-Boo Emporium located in Toronto, Canada. He has appeared on a variety of television programs; does furniture restoration; caning and rushing repairs; appraisals and has taught courses on antiques at the Learning Annex. Martin can be reached at http://www.takeaboo.com

Article Source: http://EzineArticles.com/

The Arts & Crafts Movement for Beginners
By Martin Swinton

If you like clean, simple, oak furnishings, you’re likely an Arts & Crafts aficionado. In this month’s column, we’ll talk about the history, the early champions and the variety of disciplines within the Arts & Crafts movement.

Sometimes, you’ll hear the terms Arts & Crafts and Mission used interchangeably. The English call the movement Arts & Crafts and the American’s call it Mission. They’re both talking about the same thing.

History

The Arts & Crafts period (circa 1850 -1930s) developed in reaction to the Victorian era that preceded it. The late 19th century saw the dawn of the Industrial Revolution. The mass produced merchandise resulting from assembly line production was distressing to artisans who continued to value individually, hand crafted, quality items. These artisans advocated a return to simple, well made items. The movement encompassed not just furniture but also architecture, ceramics, metal work, wallpaper and stain glass. Brown, green, black, yellow tones were prevalent across all fields; as was an emphasis on quality workmanship. There were many Arts & Crafts artisans. William Morris, Gustav Stickley and Frank Lloyd Wright are the most known. Today reproductions continue to be sold by a variety of retailers.

William Morris

Britain’s William Morris (1834 – 1896) is one the earliest champions of the movement. Morris and a group of likeminded artisans started Morris, Marshall, Faulkner & Co. Later the company was renamed Morris & Co. The company produced work in a number of areas including architecture, stain glass, fabric, ceramics and wallpaper. Morris’ marital home Red House, designed by Morris, Marshall, Faulkner & Co., is one of earliest examples of Arts & Crafts architecture.

Because Morris is one of the forefathers of the movement, it’s not surprising that anything made by him is highly collectible and valuable. His finest work is now found only in museums. Anything made by Morris is usually stamped “Morris & Co.”

Gustav Stickley

In the United States, the movement developed around the 1870s with furniture maker Gustav Stickley (1857 –1942) and his family leading the way. In 1900, this New York state based architect and designer introduced his Craftsman line of furniture. The company continues to produce furniture today. In 1997, Barbra Streisand, a pre-eminent collector of Arts & Crafts furniture sold a Gustav Stickley sideboard for $596,500 (USD) in a Christie’s auction.

Frank Lloyd Wright

American Frank Lloyd Wright (1867-1959) was instrumental to the Arts & Crafts movement. He is most well known for his work as an architect and was generally commissioned to design a home and all of its furniture. His work rarely comes up for sale and commands a very high price when it does appear. The residential home, Fallingwater and the Guggenheim Museum in New York are two of his most famous architectural works.

Furniture

The furniture of this period is solidly constructed simple furniture that frequently was made of quarter sawn oak and ash wood. Rush seating is prevalent. Spindle-back and sides, horizontal and vertical slat-back and sides are customary design elements. Upholstery is often done in green, brown or black leather. Because this furniture is so well constructed, you’ll see antique pieces receiving regular use today.

Ceramics

Potters also reacted against the mass produced wares of Victoria era. Craftsmen began to create ceramics influenced by the graceful Japanese style of the Aesthetic movement. New types of glazes and more creative forms opened up new avenues to potters. In North America, the Arts & Crafts movement led to a fundamental change in the perception of ceramics. Up until this period, ceramics were perceived as utilitarian, not decorative. The new wealthy class could afford to splurge on superfluous decorative objects. Design subjects often included flowers, dragons, flora and fauna and were commonly applied in brown, yellow, green glazes.

Metalwork

The move to hand crafted workmanship affected artisans who worked with silver, brass, pewter and copper. Companies such as Liberty & Co. and Tiffany & Co. produced pieces using hand and machine production methods. Characteristics include hammered surfaces and green or brown enamels.

Martin Swinton owns Take-A-Boo Emporium located in Toronto, Canada. He has appeared on a variety of television programs; does furniture restoration; caning and rushing repairs; appraisals and has taught courses on antiques at the Learning Annex. Martin can be reached at http://www.takeaboo.com

Article Source: http://EzineArticles.com/

Go Vintage When Decorating Your Hearth
By Martin Swinton

With the weather cooling, it’s time to put on the fireplace. Curling up near a cozy fire is a wonderful winter pastime but you’ll need the right tools to tend your fire. Vintage fireplace accessories can add just the right atmosphere to your décor. Here’s what you’ll need to keep your fire aglow.

Fireplace Tool Sets.

In the 18th and early 19th centuries when a fire was the only source of heating a home, a large fireplace was essential. You may notice that vintage fireplace tool sets can be larger in scale than modern sets. The reason is simple - larger fires required large tools to maintain it. Tool sets for the fire – a shovel, poker, brush and pair of tongs were usually made of brass, bronze or wrought iron. Bronze tools are more valuable than brass or wrought iron. Look for fireplace tool sets to match the décor of your home. Ornate Victorian tools suit more traditional homes. More modern decor lends itself to the simple linear tools reminiscent of the Arts and Crafts period.

Andirons or Fire-dogs.

Andirons are iron supports used to rest burning logs in the fireplace. They were utilitarian and not particularly decorative. However, in the 18th century the French fancied up their andirons with ornate figures such as dogs, lions, fish, mythological creatures or people. These were dubbed fire-dogs. Today, the terms andirons and firedogs are used interchangeably. Now, we hold the burning logs in cast-iron grates. You’ll still see andirons in antique shops. Use them to add a striking panache to your hearth.

Fenders.

A fender is three-sided rectangular shaped metal piece that keeps sparks from jumping onto carpets and flooring. They could be very ornamental at times.

Decorative Screens.

There were several styles and purposes for screens – to combat draughts or shield from heat. Some were used to hide the fireplace in summer months. These were called cheval screens. They could be decorative and were made from mahogany, rosewood or satinwood with needlepoint, tapestry or embroidery details. Some were made with unwanted fabric or leather. A pole screen was used when the fire was lit. It was small, light and portable with an adjustable panel that could be square, oval or shield-shaped. It was used to protect the face when you were near the fire – either sitting to be warmed or stoking the fire. Pole and cheval screens are hard to find these days because as central heating became available, screens were often discarded. If you do a cheval screen, you can still use it to hide the fireplace during the warmer months. Mesh screens came along later and served the same purpose as fenders. They held the popping embers in. Look for older mesh screens. They’ll have two small rectangular notches at the base that were to allow for the andirons.

Value.

A matching set consisting of a fireplace tool set, fender and andirons is more valuable than a mismatched set. It’s hard to find a complete fireplace set because over the years the sets were often broken up. If you have one, hang on to it.

Good News.

There are lots of vintage fireplace tools out there. Since they were made of brass, bronze or wrought iron, many have survived over the years. You’ll often find vintage fireplace tool sets more affordable than new sets. Plus, vintage sets will have that great patina that newer sets cannot duplicate.

Martin Swinton owns Take-A-Boo Emporium located in Toronto, Canada. He has appeared on a variety of television programs; does furniture restoration; caning and rushing repairs; appraisals and has taught courses on antiques at the Learning Annex. Martin can be reached at http://www.takeaboo.com

Article Source: http://EzineArticles.com/

High Ho Silver
By Martin Swinton

Second only to gold as a precious metal, silver has always been cherished. Shimmering and chic, silver is always an elegant addition to any home. Sterling, Sheffield Plate, silverplate, German Silver, hallmarks — there’s lots to take in. Here’s what you should know.

Sterling Silver
Sterling is the highest quality of silver. Pure silver is too soft for practical use so it has to be mixed — alloyed — with another metal. Sterling silver is 925 parts silver to 75 parts copper for every 1,000 parts. Since it is easy to melt down silver to convert it to coin, a system to test — assay — silver and mark it was implemented. This system is called hallmarking and the English system is the oldest. Hallmarking is a series of symbols and letters that indicates the place of origin, year that an item was made and maker. Most European countries follow hallmark procedures similar to the English system. It was developed to ensure consumers were getting what they paid for. U.S. sterling is stamped "Sterling."

There are a great many hallmarks and very few people are able to know who made any item simply by looking at a hallmark. Even silver connoisseurs consult their hallmark guides to identify hallmarks. After a 1975 treaty, a new sterling standard was adopted to indicate sterling with the stamp ".925." It was implemented to eliminate confusion across languages.

Sheffield Plate
Sheffield Plate named after the town of Sheffield, England is less costly than sterling. Sheffield Plate was made by placing copper in between silver and rolling it into thin sheets and fashioned into silverware. In the mid-1880s, electroplating — an even more cost-effective procedure — replaced Sheffield Plate as the low-cost alternative to sterling.

Silverplate
Electroplating is a process whereby a less valuable base metal (copper, nickel) is plated with silver. It’s indicated by "EPNS" — Electroplate on Nickel Silver, "EPC" — Electroplate on Copper, or, you’ll see an item marked "silverplate."

German and Nickel Silver
Neither is silver, but rather they are a mix of nickel, copper and zinc. The terms nickel and German silver are used interchangeably and will be marked G. Silver or German Silver.

Spotting Fakes
Any candlestick can be used to cast a mould to make an exact replica — hallmarks and all. But seeing two candlesticks that are exactly alike can be the tip off to a fake. Real hallmarks are applied individually, by hand, and it’s impossible to put them on the exact same spot on two pieces. So, be suspicious when a pair of candlesticks has hallmarks in the exact same place.

Forged hallmarks are applied to new pieces so that they can be passed off as antique or to silverplate so that it can be passed off as sterling. Forged marks often have soft outlines.

Watch for transposed hallmarks — when a hallmark from a smaller sterling item is cut out and placed on something that is not sterling. This real hallmark is soldered onto the new item. A trick to check for this is to breathe on the piece. Since silver is generally colder than breath, the condensation will reveal the demarcation line of the soldering. Transposing marks was done in the 18th and 19th centuries to avoid paying taxes.

Prices
The value is determined by the age, rarity and quality.

Buying Tips

• Look for hallmarks, stamps of "sterling" or ".925." If it doesn’t have these marks, it’s not sterling. And, it matters because sterling is worth about twice as much as other types of silver.


• Remember items stamped ".925" were most likely manufactured after 1975.


• Get a book on silver hallmarks and don’t be shy to pull it out and use it when you’re shopping for silver. A good one to use is Miller’s Silver & Sheffield Plate Marks.


• Don’t let anyone try to convince you that EPNS or G. Silver is sterling.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

Antiques and Reproductions: Can You Tell the Difference?
By Martin Swinton

Can you tell the difference between an antique and a reproduction? Does it really even matter?

There’s nothing wrong with good quality reproductions. You just want to make sure that you know that’s what you are getting. Here are some tips to help you tell them apart.

Wood. Antiques tend to not be made using one type of wood. Why? It simply didn’t make economic sense to use expensive wood such as mahogany in areas where no one would ever see it. That’s why the bottoms of drawers and joints of antiques might have lesser quality woods such as pine, maple. Reproductions tend to be made top-to-bottom from one wood and can be heavily stained to hide a poor quality wood. Check the underside, if the wood seems the same throughout the piece, it may be new.

Upholstery stuffing. Up until late early 20th century, horsehair and hay were used to stuff upholstered furniture. Synthetics such as foam were introduced around 1920s. Keep in mind that the horsehair or hay may have been replaced in an antique during an earlier reupholstering. It’s not necessarily bad, it’s just no longer in original condition.

Signs of wear. Do the signs of wear make sense? An antique chair will show increased signs of wear at the end of the arms where the hands would naturally rest more so than underneath the arm. If the wear is consistent through the piece, it’s likely a reproduction that has been distressed to appear old.

Signs of age. Look for signs of cracks caused by shrinkage. They indicate that the wood has expanded and contracted over time. This is normal for an antique.

Antique marble. To find out if the marble is original to an antique, check the back of the piece. If the cut line at the back is jagged, the marble is likely original to the piece. In the 18th century, the tools to cut marble straight were not yet available. If the marble is smoothly cut, it’s likely post 18th century.

Hand carving. Run your finger along the carving. Is it bumpy or smooth? Hand carving is uneven and asymmetrical. Machine carving is smooth and symmetrical.

Dovetailing. Handmade 18th century dovetails are large and uneven. Machine-made dovetails are thin and even.

Construction. Phillips screws, staples and fiberboard are all tip-offs to reproductions. On antiques with large surfaces (tables, trunks, armoires), furniture makers used wide boards with an uneven width. Reproductions use narrow boards with an even width.

Gluing. On older pieces, cabinetmakers would reinforce glued joints with dowels, mortise and tenon etc. to ensure that they were good and sturdy. Poor quality reproductions will often only be glued which down the road will lead to them falling apart. Slip a piece of paper between the joints to see if it is reinforced.

Hardware. Vintage hardware has patina. It doesn’t have a lacquer finish to protect it from tarnishing and it isn’t shiny and new looking.

Rebuilt/refurbished/reproductions. Rebuilt furniture has some new elements added to it such as new shelves, backs on an armoire. It’s common in a lot of French country furniture around today. Refurbished furniture has been restored. Either the wood has been refinished or the upholstery, caning, rushing replaced. Reproductions have no old aspects. They are completely new. Whether something is rebuilt, refurbished or a reproduction is not necessarily a negative, just as long as you are know that you’re not buying an antique in original condition.

Insert caning versus hand caning. Inset caning (post 1900) has a spine bordering the caning. Hand caning (pre-1900) doesn’t have a border. Every now and then, hand-caned pieces were converted to inset caning when a hand-caner was not to be found. Check the underside of the piece to see if it’s been converted. The underside will reveal a series of holes that were used for the hand caning.

Buying reproductions. Buying good quality reproductions eliminates the frustration of hunting for the right piece. Having something custom made ensures you get exactly what you want. For example, the narrow dimensions of antique armoires 15 to 17 inches don’t suit today’s electronic equipment. Some dealers, including myself, do offer custom reproductions to overcome this predicament.

Buying antiques. The good news about antiques is they can be less expensive than reproductions because you’re not paying for materials and labor costs at today’s prices. Plus, each antique has a history. The patina, nicks and bangs on antiques reveal a full life of use just as the wrinkles on the face of an elderly person reveal a life that has been fully lived.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

Painted country furniture – How to tell the difference between reproductions and antiques
By Martin Swinton

Can you tell the difference between a real painted antique and a painted reproduction? Good quality reproductions serve their purpose. You just want to make sure that you know what you are getting. Here are some tips to help you tell them apart.

Why paint? Mass produced reproductions come from India, Indonesia and Mexico. But antique country furniture was handcrafted by rural furniture-makers as utilitarian furniture — kitchen tables, chairs and cabinets. It was painted for several reasons. An assortment of poor quality woods was often used. Plus, paint hid a multitude of sins — the knots, coarse grain of the wood and the fact that several types of wood might be used on a single piece. And, paint protected the wood.

Where to paint. It simply made no sense to furniture makers to paint the insides of drawers and bottoms of tables because no one would see them. So, why waste the time and paint? You should be on the lookout for paint on hidden areas when you’re assessing a piece because you’ll often find reproductions with paint on the inside of drawers, chair bottoms etc. It’s a tip-off that you could be looking at a reproduction.

Does crazing mean it’s old? Crazing (tiny cracks in the paint that occur over many years) can be artificially produced on new furniture. One tip-off is that new furniture will often be crazed all over and with the same consistency. Crazing on old furniture happens from the accidents of regular use — spills and exposure to heat, fire or smoke damage that occurs over the life of furniture. There are two types of crazing: crazing to the paint or to the varnish. Over time varnish gets brittle and develops very tiny fine lines as wood expands and contracts. A similar effect happens to paint. Paint cracks as the wood expands and contracts and dirt fills into the tiny cracks. On reproductions, this look is achieved by painting fine dark lines to imitate dirt.

Is the paint old? Old paint is very hard and breaks off into irregular pieces because it is very brittle. If you try to scrape it off with a knife, it’ll come off in jagged pieces. New paint is soft. When scraped with a knife, it will come off in curls. New furniture is painted with water based acrylics that were invented in the 1940s. Old furniture would be painted with milk or oil based paints.

Natural wear. Do the signs of wear make sense? A painted antique chair will show increased signs of wear at the end of the arms where the hands would naturally rest and rub off the paint more than underneath the arm. If the wear is consistent through the piece, it’s likely a reproduction that has been distressed to appear old. If there are gouges or dents, you should see bare wood. Paint over gouges or dents means that it has been repainted.

Construction details. Phillips screws, staples and fiberboard are all tip-offs of any reproductions -whether it’s painted or not. What makes painted furniture unique is that these tip-offs can be hidden with paint. On antiques with large surfaces (tables, trunks, armoires), furniture makers used wide boards with an uneven width. Reproductions use narrow boards with an even width.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

The dos and don’ts of shopping for antiques at flea markets and garage sales
By Martin Swinton

The flea market and garage sale season are always popular. Here’s what you need to know to make your next flea market or garage sale outing a success.

DO arrive early. This is true for flea markets and garage sales. The good stuff really does get snapped up quickly. Remember you’ll have lots of competition from professional dealers to part time eBayers to the flea market and garage sale junkies who all start at the crack of dawn.

DO look for items with potential. A fresh coat of paint can revitalize an old chair. Old rubber boots and cracked teapots make great planters. Vintage ladders can store magazines or towels. Vintage lead glass windows can be fastened together to make screens or fashioned into mirrors.

DO be careful rummaging through boxes. Boxes of kitchen utensils may contain rusty sharp objects.

DO run your finger over the edges of glassware and dishes to check for chips and cracks.

DO have measurements and floor plans handy. You don’t want to get home and realize that your beautiful purchase won’t fit in the desired space or more importantly it won’t even fit through the door.

DO have the right gear. Bring a measuring tape, note pad and pencils.

DO have a rolling basket to cart around your purchases at a flea market.

DO take your item away right away. You don’t want to run the risk of returning at the end of the day to pick up a large purchase to find that the seller hands you back your money because he accepted a higher offer.

DO know the value of merchandise so you’ll know if you’re getting a deal.

DO check marks on silver and porcelain. So have your pocket reference guides handy.

DO target garage sales close to affluent areas because they’re likely to have good stuff.

DO negotiate. Now is the time to haggle. But you should always have a top price in mind and be prepared to walk away if the price is too high.

DO buy a number of things from one seller. The seller is likely to give you a good price to buyers who purchase more than one thing. You’ll usually come out ahead.

DO ask the seller his price. You don’t want the seller to ask you how much you are willing to pay because you may mention a price higher than what the seller was thinking.

DO bring cash. Bring some small bills. Don’t pull out a $20 to pay for a $3 item.

DO check for the return policy at a flea market. Most likely there isn’t one.

DON'T get too excited. Remain calm, cool and collected when you see something that you love. Gushing over a piece is sure to send the price skyward.

DON'T buy the first thing you see at a flea market. Do a quick walk about the flea market to check all the goods. You don’t want to be disappointed when you see something that you like better two aisles over.

DON'T make impulse purchases because they likely will become merchandise for your own garage sale down the road.

DON'T look too good. Leave the fancy car, jewelry and togs at home. This will help with the haggling. Sellers won’t budge too much on price if they think that you can afford to pay more for it.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

How to Care for Your Silver
By Martin Swinton

Silver is beautiful but it can tarnish quickly. This sometimes puts people off collecting it. Don’t let it deter you. Here are some tips to help you enjoy your silver.

— Use it. Regular use is best. Silver was made to be used.

— Wash in hot mild soapy water. To avoid spotting, wash quickly in hot mild soapy water, rinse in hot clean water and dry quickly.

— Avoid contact with scotch tape, cardboard and newspaper. Acids in the tape, cardboard and newspaper can be harmful to silver.

— Use acid-free paper. Wrap silver in acid free paper when storing.

— Avoid contact with eggs, onions and peas. The sulfur in these foods combines with silver to form silver sulphide, which discolors the surface.

— Avoid contact with wool and felt. These fabrics contain harmful sulfur.

— Avoid contact with rubber. Don’t fasten cutlery with rubber bands or store rubber bands in silver cups etc because rubber contains ingredients that can tarnish silver. This includes latex gloves. Don’t wear them when cleaning your silver.

— Avoid dishwashers. The combination of harsh detergents and very high temperatures is far too much for sterling to bear.

— Avoid salt. Remove salt from silver saltshakers and salt sellers after each use. Salt is a corrosive element. Storing these items with salt in them will damage them along with the rest of the silver in the cupboard because salt will permeate the air.

— Clean silver candlesticks carefully. Avoid using a knife or other sharp object to remove the nub of a candle. Instead, pour in a little hot water. Let it sit and then the remainder of the candle will slip out.

— Don’t store silver in freshly painted drawers. Some paints can accelerate tarnishing. You should wait 4 months.

Cleaning your silver

Here are a couple of methods to clean your silver.

— Commercial cleaners. A wide assortment of commercial cleaners is available at grocery and hardware stores. The less abrasive the cleaner, the better.

— Aluminum foil method — This fast working homemade remedy works like a charm. Add to pot of boiling water – a piece of aluminum foil, salt or a water softener such as Calgon. The chemical reaction among these elements quickly lifts tarnish. Works well for cutlery, trays etc.

— Toothpaste — An old standby that works in a pinch. Apply with a soft toothbrush. Remove with soft clean cloth.

Storing your silver

A humid environment encourages tarnishing. Caustic elements such as sulfur and salt cause tarnishing and pitting. Using one and/or more of these techniques will help to create a barrier between your precious silver and that pesky tarnish.

— Anti-tarnish strips — Can be added to drawers where silver is stored. These strips, containing activated charcoal absorb tarnish producing gases.

— Kenzied cloth — Line your drawers with this 100 per cent cotton per cent cotton flannel cloth. When used in combination with anti-tarnish strips, they provide a good barrier.

— Polyethylene bags — Store silver pieces in polyethylene bags that create a barrier from tarnish producing gases.

— Desiccated silica gel & activated charcoal — Add to storage area a small container of desiccated silica gel that absorbs water to keep humidity levels low and a small container of activated charcoal. This one-two combination packs a punch and absorbs harmful gases. Works well when added to polyethylene bag.

MaMartin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

The Six Worst Mistakes You Can Make When Shopping for Antiques
By Martin Swinton

Buying antiques can make a dent in your wallet, especially if you don’t know what you are doing. The novice buyer can overpay for an undervalued piece. Here are some things to avoid the next time you are antiquing.

1.) Casually examining an item. Don’t buy anything without looking at it thoroughly — top to bottom and inside and out. Look for potential problems — chips, cracks or marks. It’s buyer beware. No refunds and no exchanges are not uncommon. A number of years ago, I purchased a pink Depression glass dish from another dealer. I just grabbed it, haggled the price down and walked away with my purchase. A few weeks later, upon closer inspection, I noticed a very small, hard to see imprint: "Made in Indonesia." So, be careful out there.

2.) Not knowing your stuff. Knowledge is power, even more so with antiques. Nothing is more heartbreaking than finding out that your English sterling silver teapot is actually electroplate on copper and made in China. I recall a customer wanting to consign her Quebec 1880’s pine harvest table. It turned out that the table was from the 1970s and bore no similarities to anything that would have been manufactured in the 1880s.

3.) Buying the first thing that you see. Prices vary from shop to shop, shopping district to shopping district, city versus country. Do your homework. The big problem with antiques is that you’ll never be able to compare prices on the exact same thing. But, it’s worth shopping around because you will find a range in price for similar items.

4.) Buying from someone unfamiliar. Buy from a trusted dealer. Keep in mind at flea markets and fairs anyone can rent a table for a single weekend. Establish a relationship with someone you know and trust. It’s all about comfort. Plus, you’re likely to get better service and prices as a repeat customer rather than as a one-time customer. Get referrals from friends, family and acquaintances.

5.) Getting caught up in auction fever. Overpaying because of auction frenzy is not uncommon. Before you know it, you can be the proud owner of an armoire the size of an industrial refrigerator that you have no room for. That’s when the dreaded buyer’s remorse sets in. Stories abound about great deals at auctions. You don’t often hear about the blunders; yet they do happen.

6.) Non-do-it-yourselfers buying fixer-uppers. Unless you are an accomplished do-it-yourselfer, some deals don’t really turn out that way. I see lots of people bringing in a half-stripped chair for me to finish because the job was simply overwhelming. If you bought the chair for $25 it’s one thing to add the cost of restoration. However, if you paid $200 thinking that you’d do the work and then you don’t, now you have to add another $200 for restoration and your deal is now up to $400 — not so much of a deal. However, add $200 for restoration to your $25 chair you’re still only at $225 — still a deal.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

The Beauty of an Antique Murphy Bed
By Eddie Tobey

Murphy beds have been in existence since about 1900, when William L. Murphy invented the patented mechanism to hide his bed away in the closet of his one room apartment while he entertained. The beds have been in use ever since, always appreciated by city apartment dwellers and homeowners who needed an extra bed in a multipurpose room.

During World War II and directly afterwards, the beds dropped in popularity, first because of the scarcity of steel, and then because people were moving out of the city to larger, suburban homes, and space was not at such a premium. In the decades of the fifties and sixties, the beds were mainly remembered as props in slap-stick comedy, or the place to hide the body in a mystery story.

Now, Murphy beds are experiencing resurgence, as professional people move back into the cities and make their smaller living spaces more functional. Many apartment dwellers are finding these beds already existing in older buildings, especially in places like San Francisco, where the Murphy bed was invented, and where many Murphy beds were sold for the apartments built between the 1906 earthquake and World War II. Antique Murphy beds are now much sought after conversation pieces and design focal points, as well as practical, still-functioning pieces of furniture.

Antique Murphy beds are also being sold in fine antique stores all over the country. Many of the original mechanisms still function and the cabinetry used to create the units can be quite beautiful. Buyers should remember, however, that a true Murphy bed is not going to be older than the invention, patented in 1900. The piece may be housed in a cabinet that is older than the patent, but the mechanism cannot be older than that. The buyer should be knowledgeable about the furniture of the period as a whole, and about the mechanism itself. Intelligently purchased, these beds can be an investment and a functioning piece of furniture.

Murphy Beds Info provides detailed information on murphy beds, murphy bed plans, wall beds, bed libraries, and antique beds. Murphy Beds Info is the sister site of Bunk Beds Web.

Article Source: http://EzineArticles.com/

Antique Art or Painting Restoration Techniques
By Charlie Foster

Antique Art and Painting Restoration:

Many times, restoring antique art or painting is as simple as cleaning it and giving it a new coat of varnish. Other times more extensive work is needed, such as repairing tears in canvas, or filling areas where paint has fallen off. Oil paintings and acrylics can both be restored, as can paintings on canvas or canvas board or wood.

Cleaning and re-varnishing: This is the most common need for antique art. Dirt and other residue are removed layer by layer, restoring color to its original brilliance. Re-varnishing protects the painting from fading and restores the sheen.

Occasionally, extensive cleaning is required. This is needed if the antique art or painting has a deep yellow cast to it, which is caused by old varnish or nicotine tar.

Tightening or re-stretching: Many paintings are stretched on wooden bars; these bars tend to move when exposed to humidity, causing the canvas to wrinkle. If a canvas is slightly wrinkled, it can be tightened on the stretcher bar to smooth the wrinkles. If it is very wrinkled, it may need to be re-stretched.

Restoring paint loss: In these areas, canvas is intact, but the painted surface has fallen off completely or been otherwise damaged (scratching, etc). These areas can be filled and repainted to recreate the missing part of the image.

Restoring Tears and punctures: These areas require major restoration. The canvas must be patched, filled, sanded, and repainted to recreate the original image.

Your antique art or painting may need a combination of these treatments to be restored.

If you are having a professional restoration company restore your paintings they will usually be evaluated on a case-by-case basis to see what is needed.

Charlie Foster is the senior antique art and painting restoration artist for Broken Treasure Studio. http://www.brokentreasure.com

Article Source: http://EzineArticles.com/

How to Care for Your Antique Furniture
By Martin Swinton

• Why is your Aunt Mabel’s dining room table warped?


• Why is your Grandmother’s sewing table discolored?


• Should you use aerosol polishes on your antiques?

Relative humidity
Central heating is the worst thing to happen to antiques. A warm inside and cold outside makes life comfortable while wreaking havoc on antiques. It’s the fluctuations in relative humidity that central heating creates which cause the problem. Wood responds to relative humidity by expanding and contracting as it tries to maintain a balance with its environment. It’s not the rapid changes during the course of a day that cause the most damage. It’s the long-term seasonal fluctuations, which cause the serious damage. During the dry winter months when it is cold outside and warm inside, wood tends to shrink. During hot damp summers when it is warm outside and cooler inside, wood tends to expand. Long-term exposure to these conditions leads to cracking, warping and splitting.

How can you guard against the fluctuations in relative humidity in your home? Use a humidifier during the cold winter and a dehumidifier in the damp summer. Think twice before putting a good piece of furniture in a basement, attic, near heating vents or near fireplaces. Keep fresh air circulating. Maintain a constant room temperature and turn it low at night.

Finishes are affected by relative humidity. Just as the wood expands and contracts, so too does the finish, which becomes brittle and crack. This is called crazing.

What can you do about crazing? Restor-A-Finish is a great multi-purpose product that penetrates through the existing crazed finish and stain, bringing up the color and restoring the luster.

Sunlight
Just as sun damage to the skin is cumulative and permanent, its effects on wood are just as destructive. Diffused sunlight over a long period of time can be as detrimental as direct sunlight over a short period of time. Sunlight can turn a clear finish yellow.

How can you avoid sun damage? The only good news about sun damage is that it’s easy to avoid. Draw the drapes, pull the blinds or have an UV-filtering film applied to your windows.

Insects
Termites are a menace to North American homes and are often found in older homes. Hopefully, you’ll notice an infestation of termites in your home before they reach your furniture.

The termite solution? Professional fumigation is the best remedy.

The wood beetle is a nasty archenemy of European antiques. It’s not as common in North America. Nevertheless, you want to be aware of the wood beetle in case you bring an antique from overseas into your home and infest the rest of your furniture.

The wood beetle lays its eggs in the crevices in wood; the larvae hatch and eat their way through the wood creating a series of tunnels. As the beetle ages, it digs its way out of the wood leaving a hole, flies off to lay its eggs and continues its life cycle.

A tell tale sign that you have wood beetle is the pile of frass (wood dust and insect excrement) on the floor. Another sign of a serious infestation is to pick up an item; if it is very light, likely a large portion of the inside has been eaten away.

How to rid your furniture of this pesky insect? Isolate the infested object. Ensure that the infestation has not spread. Hope that this infestation happened during the winter because the easiest way to get rid this bothersome bug is to place the item outside on a dry sub-zero day.

Surface damage
A great deal of surface damage can be prevented if you always remember to use coasters, mats and trivets and avoid placing hot and/or wet items directly on furniture.

Scratches — Never slide anything (vase, plate, serving dish etc) across a surface because it will scratch. A very light scratch can be treated with Restor-A-Finish. Deep scratches require the skill of professional restorers.

Liquids — Spilled water should be thoroughly wiped up immediately. Alcohol and solvents (nail polish, nail polish remover, perfumes) should be dabbed, not wiped because they can act like a furniture stripper and damage the finish. White rings left from either a hot drink or a wet glass should be attended to right away. A little Brasso applied with a clean cloth may do the trick. Or, I have found that Restor-A-Finish works well to remove white rings. Always test on a small area first.

Candle wax — Wait for the wax to cool then gently loosen using a fingernail to remove.

Cleaning
For daily cleaning, use a clean cloth or a clean duster. For those who like to use something more, I recommend Orange Oil because it works well to clean and polish wood finishes. I like it because it doesn’t leave a wax build up and doesn’t contain linseed or silicone oil. Avoid aerosol spray polishes because they can contain silicone oil and other agents that can be harmful to your furniture.

Every couple of months, wax with a good quality paste wax that can be found in any hardware store. If you wax too much, it can dull the finish and attract dust. To remove a waxy build up, apply varasol with a clean cotton cloth. Proper waxing will bring up the color and grain of the wood and protect it. Rub a small amount on a soft cloth and apply it in circular motions. Let it dry then buff with a clean cloth. A

Moving/Handling
Remember to treat your antiques with care. They are old and should be given the respect that their age commands. Pick up chairs from underneath the seat; not by the arms. Lift a large piece of furniture; dragging it can put excessive pressure on the legs. Tables should be lifted by the apron; not by the top or the legs because they could be loosened. Open drawers using both draw pulls; not just one. Sit squarely on a chair; don’t tilt back on it.

For more information, on Restor-A-Finish and Orange Oil visit http://howardproducts.com.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

Antiques - Wood Basics
By Martin Swinton

Oak, mahogany, walnut, pine, rosewood, maple, elm; you may have some or all of these woods in your home. But, do you know how to tell the difference among them? In this month’s column, we’ll talk about the different kinds of wood that are regularly seen in antique furniture and some common decorative treatments.

The Basics
Wood is hard or soft. When I say hard, I mean that the wood is dense, whereas, a soft wood is supple. A good trick to tell the difference between hard and soft wood is that if you press your fingernail into a soft wood such as pine, it leaves an indentation. But, this does not happen with a hard wood such as oak.

Wood is coarse-grain or close-grain. In coarse-grain wood, the age rings in the wood are far a part, giving it an uneven appearance. In close-grain woods, the age rings in the wood are very close together, giving it a smooth, delicate appearance.

Sometimes, wood is stained. Lighter woods such as oak, elm and maple can be stained to resemble a darker mahogany or rosewood.

Some woods (mahogany, rosewood, burl walnut) are perceived to be more valuable than other woods (elm, maple, spruce). The reason for this is availability. Woods that need to be imported are more expensive than home-grown woods. Woods that are abundant are not as expensive as woods that are scarce.

Oak
Oak is a coarse-grain hard wood found in Europe and North America. Starting in 17th century Europe, oak was used to make furniture found throughout the home. There are several varieties including red oak and white oak. Young oak is pale in color. But, over time and with polishing, oak darkens into a rich brown color.

Mahogany
Mahogany is a close-grain hard wood native to northern and central South America and the West Indies. Mahogany was a popular choice in England during the mid-18th century for fine furniture making. It is a dark red color sometimes, however, it is dark brown. Red mahogany is found in the West Indies and brown mahogany is native to South America. Mahogany furniture continues to be desirable today.

Rosewood
Rosewood is a close-grain hard wood indigenous to India, South America and the West Indies. Rosewood is named for the rose scent that releases when it is cut. Occasionally, I find that people confuse rosewood and mahogany. Both woods can be red in color. However, when you look closely at rosewood, you’ll see fine black (and sometimes white) rings that are not present in mahogany. Another trick to tell if an item is rosewood is to pick it up. Rosewood is a very heavy wood, heavier than mahogany. In the 17th century China, rosewood was a popular choice for fine furniture makers. As well, in 19th century Europe, it was used to construct better-quality furniture for fine homes.

Walnut
Walnut is close-grain hard wood found in Europe and North America. The color varies from light to a very rich golden brown color and it is not uncommon to find walnut stained to look like mahogany. Sometimes, disease leads to the unexpected. Burl walnut, the most prized form of walnut, results from a disease that attacks the tree causing a beautiful scrolled, close-grain. These days you see the look of burl walnut replicated in the plastic interiors of some higher end cars.

Pine
Pine is a pale, knotted soft wood with a wide, straight grain. It grows in Europe and North America. Pine was often used in furniture intended to be painted. Everyday furniture — kitchen tables and chairs -were often made from pine.

Maple & Elm
Maple and elm are coarse-grain hard woods found in North America and Europe. They were frequently used in utilitarian furniture. Often a veneer of a finer wood was applied to these woods.

Veneers
Veneering is a technique where a very thin sheet of a more expensive wood is glued to a less expensive wood. Using less expensive woods such as elm and maple and adding a more expensive mahogany or walnut veneer allowed furniture makers to provide furniture that was affordable for a larger clientele. You may hear an antique dealer say; "This table is walnut on maple." The dealer means that the item has a walnut veneer and underneath the actual item is maple. A walnut on maple table is less valuable than a solid walnut table.

How do you tell if your furniture is veneered? Look at the edges of the piece. If you see what appears to be a seam, it is veneered. On the other hand, if the edges of the piece are seamless, it is solid.

Early veneers from the 17th century were hand-cut, so they could be uneven. But, in the 19th century veneers started to be cut by machine. This allowed the veneers to be cut very thin and even. Depending on the way the wood is cut, veneering produces different effects. Butterfly veneering occurs when two opposing end grain veneers are diagonally cut from a branch. They are applied to mirror each other.

Marquetry/Parquetry/Inlay
Marquetry is a technique where various kinds of wood are applied to a surface to produce a picture. Flowers and birds were often the subjects. Exotic woods such as ebony, satinwood and tulipwood were frequently employed.

The difference between marquetry and parquetry is the subject matter. Parquetry is a veneer that uses geometric patterns. Nowadays, you see it in parquet hardwood floors and ornate chess and backgammon boards.

Inlay is a decorative treatment where materials other than wood are cut into a design. Inlays were often made of bone, ivory, mother of pearl, brass, tortoise shell. Marquetry, parquetry and inlay first appeared during the Italian Renaissance.

Gilding
Gilding is a technique wherein gold leaf is applied with gesso (a plaster-like substance) to wood. It is highly decorative and was popular during the Italian Renaissance and the Louis period in France.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

Antiques - What You Need to Know to Get Started
By Martin Swinton

• Do you think that provenance is a region in France?


• Do you think that patina is an antipasto?


• Do you ever wonder what the difference is between original finish and original condition?

If so, then please read on. The subject of antiques can be confusing; it has its own language. In this month’s column, I’ll de-mystify some terms commonly used in the business, so that you’ll be appropriately armed for your next antique adventure.

Antique
Basically, an antique is something old that has value because of esthetic or historical reasons. Generally, if a piece is more than 100 years old, it is considered an antique. Although, I have recently heard people use the 50-year mark for Canadian pieces; the rationale being that Canada is a young country relative to places such as Europe and Asia. However, I’m old fashioned and apply the 100-year definition to Canadian pieces.

Original Finish
You’ll often hear an antique dealer mention, in reverential tones, that an item has its original finish. This often precedes the disclosure of a price that exceeds your credit card limit. The term original finish means just that — a piece has the same finish today that it had when it was first made. It’s the original protective coating — the varnish, wax and/or polish that was applied to protect the wood when the piece was produced.

Why does original finish matter?
Original finish is significant because it is one of the factors used to assess the value of a piece. If you have two end tables — one with its original finish and the other without — the one with the original finish is more valuable. As soon as a piece has been stripped of its original finish, it has lost part of its integrity and is, therefore, less valuable.

Original Condition
Just as an original finish adds to the value of a piece, original condition also adds to its value. This refers to the overall state of the piece. Does the piece have the same features that it did when it was produced? Does it still have the original hardware, shelving or drawers?

If the hinges have been removed, new shelving added or the drawer pulls have been replaced, it’s no longer in original condition. As soon as something has been removed or added to a piece, it is less valuable.

Patina
Patina develops over many years. It results from a build up of polish, dirt, grease, wear, and chemical changes. Patina gives a piece its character — its beauty. The small nicks on the corners and gentle wear marks on the surface of a table indicate that a piece has lived a long and useful life. New wood furniture does not have patina because it can only develop over time.

Occasionally, a client will look at piece that just glows with a beautiful patina. He or she’ll say, "I like it but it has a little scratch on the top. Can you fix it?" I’m often inclined to say to them, "You’d have a few scratches on you if you were 150 years old!" So, next time you are shopping, remember that wear is natural with antiques.

Provenance
The word refers to the documented history of a piece. It’s the who, what, when and where of it. It’s what separates the very good from the truly exceptional.

Provenance is a great word to throw around at a cocktail party. It packs a greater punch when it’s said in a highly affected tone. A good use of the word might be, "You just won’t believe the provenance of my new Louis XIV chair that I just received from France. It’s the authentic chair that he sat in while Marie Antoinette told the French peasants to eat cake!"

Yet, true provenance requires painstaking research. Continuing with the Louis XIV chair example, if you can document through bills of sale, letters, photographs, or anything else that your chair is the real one, then you have the provenance. The provenance is what would send the value of this chair sky high. Louis-style chairs are not uncommon. However, a bona fide chair linked to the Sun King is extremely rare. Serious collectors will pay top dollar for items with a well-documented provenance.

Martin Swinton lives in Toronto, Canada and owns Take-A-Boo Emporium, a popular local antique shop. He has appeared on a variety of television programs and teaches courses on antiques. Contact him at www.takeaboo.com

Article Source: http://EzineArticles.com/

If You Have Any Antique Clocks...Keep Them. They May Be Valuable Keepsakes
By Mike Yeager

Been shopping for antique clocks lately?

It’s strange that when something is new they are fascinating and cutting edge. Then they become a common place. After a century or so, they become rare, untouchable museum pieces or antiques. An antique clock is not different. It acts as a representation of the time past, a reflection of the culture transformed.

Or it may just look great!

Antique clocks may be bought for several reasons. Perhaps to recreate an era, possibly as an investment or just to enhance the aesthetic value of a wall.

Antique grand father clocks are one of the things that can be bought, provided there is space; lots and lots of space. A good place for an antique clock would be a castle or a mansion of course, but isn’t your home also your castle.

If one has a romantic bent, one could purchase antique French clocks.

Having antique clocks at home is not without it’s share of problems. The fact that they are old and require maintenance and care can be a source of challenges. For instance, they may stop reading accurate time. Either running few minutes (or even a few hours ahead) or simply slowing down to a stop. A good idea would be to have a shop near by that provides maintenance and, of course, this will insure that your antique clocks are well kept and functioning smoothly.

About The Author

Mike Yeager, Publisher

http://www.a1-clocks-4u.com/

mjy610@hotmail.com

Article Source: http://EzineArticles.com/

A Guide to Antique Bird Cages
By Ken Marlborough

It has been said that everything old is new again. So it is with bird cages. Antique bird cages are a popular addition to many houses and apartments. They fit in with many styles of decorating, including Victorian and shabby chic. Chinese antique bird cages are available for an Eastern flair.

If you are buying an actual antique, prepare to pay a hefty price. Be on the lookout, though, at garage sales and flea markets. Sometimes you can find an undiscovered treasure for mere pennies. More likely, though, you will have to pay.

Ebay is one place to check for antique bird cages. Before spending a large amount of money, make sure that your seller is reputable. One way to ensure this is to only buy from sellers with positive feedback.

Though authentic antique cages are pleasing to the eye, they are not the best home for your bird. Many antique bird cages are treated with chemicals or paints that can be toxic to your bird. If you buy a true antique, use it for decorative purposes only.

If you desire the look of antiques without the price tag, reproductions are also available. Replica antique bird cages often maintain the look and style of the original, but at a fraction of the cost. Victorian reproductions are especially popular. Select Home Décor is one source for reproductions. Department stores, home décor stores, and some home improvement stores also sell faux antique bird cages.

Bird Cages Info provides detailed information in decorative, large, custom, acrylic, antique, wooden, and discount bird cages sale, as well as covers and stands. Bird Cages Info is the sister site of Dog Beds Web.

Article Source: http://EzineArticles.com/

Antique Wedding Dresses
By Lorna Mclaren

Wedding dresses come in so many different styles these days but many brides-to-be are wearing wedding dresses that have been handed down through the family.

This tradition is becoming more popular, especially with the cost of some new wedding dresses being extremely restrictive and modern styles not being to everyone’s taste.

There is something special about wearing antique wedding dresses. Of course their value is more sentimental than newly bought wedding dresses and I believe that they add an almost magical touch to an already special day.

Many wedding dresses that have been passed down through the generations are made of wonderful silk and lace and the extra age of them often enhances their overall appearance.

Of course these wedding dresses need to have been stored correctly to prevent any damage whilst they are waiting for their next appearance.

It is also possible to find antique wedding dresses at specialist second-hand clothing stores and, if you are really lucky, you can find some wonderful wedding dresses in thrift stores if you live in a particularly affluent area.

Not everyone wants to keep their wedding dresses and you could buy one for a fraction of its original price and add your own personal touches to it if you prefer.

Some ideas for enhancing wedding dresses are to sew little bows, beads or other accessories onto the skirt or bodice, or both if you fancy!

Lorna Mclaren has an information and resources website at http://www.a1-ourwedding.com where you can get loads of inspiration for your special day!

Article Source: http://EzineArticles.com/

From Brass to Tin: How to Care for Your Antique Metals
By Martin Swinton

Caring for your antique metal items requires know-how. Each metal has its own particular characteristics and requires its own brand of tender loving care.

Brass

Brass is commonly found on decorative items, hardware and fixtures. Avoid cleaning with acids such as vinegar or lemon. The acid is too harsh. Likewise, avoid ammonia- based products such glass cleaners. A coat of clear lacquer is often applied to brass to prevent tarnish. A coat of paste wax will slow tarnish. But antique brass should not be polished because the patina that develops over time is desirable.

Bronze

Sculptures, lamp bases, fixtures are sometimes made of bronze. There is good news with this metal. The less you do the better. The patina that comes with aging on bronze is desirable. So, don’t do anything beyond a light dusting to maintain any of your bronze items.

Cast-Iron

Cast-iron is a metal of choice for fireplace accessories, cookware and garden accessories. Cast-iron that has become wet should be thoroughly dried as it will rust. A coating of oil, wax or paint can prevent rust. You can use a small knife to remove small rust spots. Avoid submerging in water any cast-iron cookware as it is often seasoned. Don’t scrub this off. It is desirable.

Copper

Copper is a popular metal used for home and garden decorative ware and cookware. For your outdoor copperware: left untended it develops an appealing green patina, yet people do tend to polish their copper cookware. A timeless homemade remedy continues to be a popular cleaning method. Sprinkle the item with coarse salt and use a half of a lemon to scour until clean.

Gold

Gilt is often applied as a decorative element to furniture and is found in antique jewelry. Gilt and plating found on furniture are very delicate, so gently dust with a very soft brush. Pure gold doesn’t tarnish. But impurities in hard water might discolor gold, so make sure that any gold that gets wet is thoroughly dried.

Pewter

Pewter is found in serving and decorative items. Vintage pewter was made of a soft mixture of tin and lead and is more delicate than modern pewter. Using a light hand is your best course of action with any pewter. A light dusting and good washing with soap and water is all pewter needs. It does not buff up to a bright shine.

Silver

Sterling and silver plate is commonly used in flatware, serving items and vintage jewelry. Buff with a silver polish as needed. The more you use your silver flatware, the less polishing it needs. In a pinch, toothpaste makes a good cleaner. Store silver in silversmith cloth bags.

Tin

Tin is found in decorative items and kitchenware. Vintage tin might be gray. Don’t try to buff it away. The tarnish protects the tin. Dry thoroughly because any moisture remaining could cause rusting.

Martin Swinton owns Take-A-Boo Emporium, an antique shop located in Toronto, Canada. He does furniture restoration, caning and rushing repairs, custom reproductions, upholstery, teaches courses on antiques and does appraisals for estates and community events. He can be reached at 416-785-4555 or by visiting http://www.takeaboo.com

Article Source: http://EzineArticles.com/

Carlton Ware: A Colourful Collectible
By Martin Swinton

These vibrant collectibles are as charming today as they were when they were first introduced.

Origin

The company Carlton Ware was formed in 1890 due to a partnership between J.F. Wiltshaw and J.A. Robinson. The company changed ownership several times during its century-old life. Today it is well known all over the world. Carlton Ware introduced this earthenware line of floral embossed patterns in the 1930’s.

Patterns were produced in either a green or yellow background and featured a range of floral patterns including: Fox Glove, Apple Blossom, Water Lily, Buttercup and Poppy.

Appeal

The vivid colours and floral patterns make this line of Carlton Ware as appealing today as it was in the 1930’s. This sturdy earthenware is used today for display and serving. Teapots, cream and sugars, tea cups, saucers, salt and peppers, toast racks, jam pots and a variety of serving pieces can still be found.

Quirky Fact

The rather confusing and wordy mark on this earthenware often appears as “Carlton Ware Made in England Trade Mark Registered Australian Design Registration Applied For”. This is for good reason. By the 1930’s, Carlton Ware had become a target of good quality imitations coming from Japan. Priced lower than the originals, it became a problem for the company. Carlton Ware discovered a clause in the South East Asia Treaty Organization with respect to trade between Australia and Japan. The treaty stated the Japan could not copy designs that were registered in Australia.

Shopping

They were moderately priced and quite popular in their day. Today it can be found at flea markets, antique shops, garage sales and on Ebay. Prices can range from a few dollars to much more depending upon the pattern, shape, size and condition of the piece.

Martin Swinton owns Take-A-Boo Emporium, an antique shop located in Toronto, Canada. He does furniture restoration, caning and rushing repairs, custom reproductions, upholstery, teaches courses on antiques and does appraisals for estates and community events. He can be reached at 416-785-4555 or by visiting http://www.takeaboo.com

Article Source: http://EzineArticles.com/

Trash or Treasure: Assessing Your Possessions
By Martin Swinton

One personal junk is another personal treasure. Never is that more true than when you are doing a spring clean up.

The good weather held out for Fred Dowling’s 25th anniversary junk day and treasure exchange. Each year for the past 25 years, co-op residents have gathered in the spirit of reducing, reusing, recycling of their possessions. Residents trade and dispose of unwanted items; it’s a win-win situation, all around. This year an Antiques Road Show was added to the day. I was on-hand as residents brought their prized possessions and family heirlooms to be appraised.

Some of the riches unearthed include: a 1953 Coronation toy carriage at $350; a Queen Victoria Jubilee milk pitcher at $175;a pearl brooch for $250; an antique desk for $275. The “piece de resistance” was a silver and diamond necklace valued at $750.

Here are some things to keep in mind when assessing the value of your items.

Condition

Chips, cracks and breaks on crystal, glass, porcelain and ceramics reduces the value of anything to a very minimal amount. Despite that fact, any item can have sentimental value even those with damage can have value to you.

Spotting Damage

Sometimes you can’t tell if a piece of porcelain is cracked. Use the ping test – flicking you’re your thumb and finger again the porcelain. If it gives a ping sound, there are no cracks. If it gives a thud sound, it is damaged. The same test applies to crystal.

Value

Appraised value, retail value and your selling value are all different amounts.

The appraised value, sometimes called the insurance value is the amount that you would insure an item for. It is based on the amount you would have to pay to replace the item if it made an insurance claim.

The retail value is the amount that a store would sell it for. Your selling price is the amount that you would get if you sold it.

Your selling price will always be less than the retail value because most likely, you would sell your item to a dealer who in turn marks up the price.

Martin Swinton owns Take-A-Boo Emporium, an antique shop located in Toronto, Canada. He does furniture restoration, caning and rushing repairs, custom reproductions, upholstery, teaches courses on antiques and does appraisals for estates and community events. He can be reached at 416-785-4555 or by visiting http://www.takeaboo.com

Article Source: http://EzineArticles.com/

Forget the Tie - 5 Unique Father's Day Gift Ideas
By Martin Swinton

Father's Day is just around the corner. Here are some gift ideas sure to put a smile on dad's face.

1. Forget the Tie

Vintage cufflinks, studs, watches and tiepins can be found for a fraction of the price of what you would pay for buying new. They can add finesse to dad's wardrobe.

2. Vroom Vroom Vroom

Die-cast metal vintage-style cars make great desk toys. A Porsche, a Jaguar or an Aston Martin is sure to make dad's day memorable. Prices starting at $40.

3. Reader's Corner

If dad is a collector, whatever his passion - antique toys, paperweights or furniture of any period - there is a book to teach him all he needs to know. Look for compact pocket guides or more complete reference books to kick back by the fire. Prices start at $9.95.

4. Desk Accessories

Give dad's desk a makeover with the gift of an exquisite writing set. Direct from Italy is the Francesco Rubinato collection of old world writing instruments. This distinctive collection of fine writing instruments and accessories includes desk sets, quill-tipped pens, glass pens, wax seals - all attractively boxed for gift giving.

5. Music Lovers

A gift of a vintage radio or gramophone will delight a fan from the pre-CD era. LP and 78 records can be found at garage sales starting at 25 cents. They can make for charming entertainment at the cottage.

Martin Swinton owns Take-A-Boo Emporium, an antique shop located in Toronto, Canada. He does furniture restoration, caning and rushing repairs, custom reproductions, upholstery, teaches courses on antiques and does appraisals for estates and community events. He can be reached at 416-785-4555 or by visiting http://www.takeaboo.com

Article Source: http://EzineArticles.com/

Five Mother's Day Gift Ideas
By Martin Swinton

Books

1. If mom is a collector, whatever her passion - depression glass, blue and white pottery, silver, paperweights, or furniture of any period - there is a book to arm her on her next antiquing adventure. Look for pocket guides to slip in handbags during shopping excursions or more complete reference books for curling up by the fire. Prices start at $9.95.

2. Write On

Give mom a chance to sign her name with flair with a gift of an exquisite writing set. Direct from Italy is the Francesco Rubinato collection of old world writing instruments. This distinctive collection of fine writing instruments and accessories includes quill-tipped pens, glass pens, wax seals and exquisite desk sets; all attractively boxed for gift giving. Sure to make mom smile every time she writes a note.

3. Homemade Gifts

Antique stores are treasure troves of small dishes, teacups and plates in glass, ceramic or silver. All at affordable prices. Fill one up with her favourite candies, chocolates or flowers, wrap it in tissue paper, tie it with a bow. Mom is certain to appreciate this one-of-a-kind present. Prices starting at $4.

4. Wrap It Up

Vintage napkins, tea towels, crocheted doilies can take the place of wrapping paper for small gifts. Secured with a pretty ribbon, it's sure to delight mom. Prices starting at $3.

5. Hook It

Mom will love a handbag caddy designed to keep her handbags off the floor. It's a new and improved version of a style from days gone by. And it keeps pickpockets at bay, so mom can enjoy a stress-free meal. Price is $34.50.

Martin Swinton owns Take-A-Boo Emporium, an antique shop located in Toronto, Canada. He does furniture restoration, caning and rushing repairs, custom reproductions, upholstery, teaches courses on antiques and does appraisals for estates and community events. He can be reached at 416-785-4555 or by visiting http://www.takeaboo.com

Article Source: http://EzineArticles.com/

10 Tips to Care for Your Antique Ceramics
By Martin Swinton

To care for your antique ceramics you need a gentle touch and they’ll last you a long time. This month we’ll give you some useful tips to help you care for them.

1. When you are cleaning delicate ceramics, remember to use a soft-bristled brush to wash antique ceramics in warm soapy water.

2. Rinse with warm, clear water.

3. Don’t rub ceramics dry; let them dry naturally.

4. Avoid abrasive products and bleach.

5. Avoid soaking antique ceramics. If there are any repairs, extended soaking could loosen them.

6. Avoid plate hangers. They do great damage to antique ceramics because over time the pressure from the hanger will cause cracks.

7. Display ceramics on sturdy plate stands or plate rails.

8. Avoid hanging antique ceramics such as cups, pots or vases by their handles or other weak areas.

9. Don’t attempt repairs. It is tricky work and you’ll never be able to match the paint colours exactly on your own. Bring a damaged ceramic to a qualified ceramics restorer. Repairing a bad restoration disaster will cost you more than fixing it right the first time.

10. Avoid serving food on restored ceramics; the chemicals used in the restoration could be hazardous.

Martin Swinton owns Take-A-Boo Emporium, an antique shop located in Toronto, Canada. He does furniture restoration, caning and rushing repairs, custom reproductions, upholstery, teaches courses on antiques and does appraisals for estates and community events. He can be reached at 416-785-4555 or by visiting http://www.takeaboo.com

Article Source: http://EzineArticles.com/