Cleaning & Caring ~ Hints & Tips ~ Glass & Pottery A signature on a piece of cut glass adds at least 25% to the value, but it can be difficult to find... Look on the inside flat spot of the bowl and hold bowl to light, and tilt so that the light reflects off the flat center part of the item, on the inside you should see a slight etched mark, if present.. Marble sculptures will discolor from pollutants if near a window or an active fireplace. They may scorch or crack near a heater. To remove ink from matte finish pottery use paste silver polish. Old mirrors reflect light w/off-white tone... Hold edge of white card against the glass. If reflection matches card, mirror probably dates from 1850 or later. If card looks off-white, slightly yellow or gray, the mirror was made before 1850. (House Beautiful) Reverse painted lamps, vases and such should never be washed, only dusted Use denture cleaner to remove build up in old bottles. White powder forming on glass or pottery with a lead glaze is poisonous. Remove the item! Do not store foods or beverages in crystal bowls or bottles for long periods of time. Vinegar, acidic juice, and alcoholic beverages will leach the lead out of the glass. Porous pottery and ironstone can be cleaned with wig bleach obtained from a beauty salon. Glass Christmas ornaments should never be stored in a damp basement. Mildew will cause damage. To clean glass with an irridescent finish, use cool water and very little mild soap. To check pressed glass use a black light. American pieces before 1930 fluoresce yellow. Reproductions do not fluoresce. Ceramics can be washed with soap and water, but only wipe gently with a damp cloth if they are repaired, damaged, or have cold-painted decorations. Coloured drinking glasses and decanters were produced in relatively small quantities in England during the 18th century. But 18th-century styles were much copied in the late 19th and early 20th century and some later versions are so convincing that even experienced collectors can be confused. Most of the coloured glass you'll come across dates from after 1800, when many lavishly decorated glass objects were made both in Britain and on the Continent Glass types Soda glass. Made in Venice from the 13th century. The soda was derived from burned seaweed, and gave the molten glass a malleable quality which allowed glassmakers to create very elaborate shapes. Potash glass. Made in northern Europe. The potash was derived from burned wood and bracken. Potash glass was particularly suited to cutting and engraving. Lead glass. Made from potash with the addition of lead oxide (instead of lime), this glass, developed by George Ravenscroft, was used in England and Ireland from the late 17th century, and in Europe from the late 18th century. Lead glass is characterised by its weight and is well suited to cutting. Decoration Cutting. Cut facets in glass emphasise its refractive (light transmitting) qualities. Cut decoration can help with dating. The earliest patterns were shallow surface cuts. Patterns became increasingly elaborate in the late 18th and early 19th centuries. Enamelling. Painting in coloured enamels was popular on Venetian glass from the late 15th century and became fashionable in England in the mid-18th century. The best-known English enamellers were the Beilby family. There are two types of enamelling: Fire enamelling - where the enamel was painted on the surface of the glass, and the glass fired to fix the decoration. This is the most permanent and usual form of enamelling. Cold enamelling (or cold painting) - which involved painting the glass without firing. This technique has the disadvantage that the enamel wears off easily. It was mainly used on inexpensive items. Gilding. Gold decoration was applied to the surface of the glass in a number of different ways. The most permanent method of gilding was by firing the gold onto the surface of the glass. An alternative method was oil-gilding, which involved applying a gold powder or leaf onto an oil base and burnishing. Gilding applied using this method is easily rubbed off. Engraving. There are four types of engraving: Diamond point engraving. The design was scratched onto the surface of the glass using a tool with a diamond nib. This technique was used in 16th-century Venice, and in England in the late 16th century. Wheel engraving. The design was engraved using small copper wheels of varying diameter which rotated against the surface of the glass. The technique was used in Germany in the 17th century, and became the most common form of engraving in England from the 18th century. Stipple engraving. A fine diamond needle was tapped and drawn on the surface to form a design built up from dots and small lines. This technique was popular in the Netherlands in the 18th century and is also found on English glasses. Acid etching. This technique involved covering the surface of the glass with varnish or grease, and scratching the design with a needle or sharp tool. The surface was then exposed to hydrofluoric acid which etched the design on the glass. This method was popular in the 19th century. Authenticity Fakes of many of the more expensive types of antique glass abound. Victorian glassmakers made imitations of 18th-century glass and many fakes have also been produced in the 20th century. These are often discernible in three key ways: Colour. The distinctive tint caused by impurities may not be present in reproductions. Manufacturing methods. Hand-blown glass usually has a pontil mark - a rough bump under the stem - where it was cut from the pontil rod. It may have striations or ripples in the glass and the rim may be of uneven thickness. Later, machine-made glass doesn't have these imperfections. Proportions. Glass has varied in style and proportion throughout the centuries. On old glasses, the foot is usually as wide as the bowl. The wrong proportions may indicate a fake. For Prices and more information of all kinds for antiques and collectibles, go to Kovels.com Costume Jewelry Fakes?? Go to Rhinestonerainbow.com to see examples of real and faux favorites like Trifari, Hobe', Coro & more. |
Antique Tips ~ Cleaning & Caring for your heirloom items... Coins should be left in "found" condition. Cleaning makes them less desirable to collectors. Do not polish dark antique bronze or you will destroy the old patina and lower the value of the piece. Clean andirons using liquid metal polish and 0000-grade steel wool to remove resin caused by smoke. To polish brass make a paste of equal parts of salt, flour and vinegar. Rub on brass with a soft cloth. Rinse completely. Shine with a clean, dry, soft cloth. Chlorine in cleaning products products will harm bronze items displayed in a room where these products are used. Don't use plastic bubble wrap to store silver and ceramics. Heat and humidity can cause permanent discolorations. Tin signs or cans will fade in ultraviolet sunlight, or fluorescent light. Small nicks in decorative iron pieces can be hidden with black crayon. Lemon juice will remove the remains of gum, adhesive tape, and other sticky tapes. When storing old toys remember to remove the batteries first. When repairing dolls remember that changing the original hair in any way will lower its value. Store plastic toys or other plastic items away from the heat, not touching one another. Antique clocks must be cleaned and lubricated every five years. To set most clocks, hold the minute hand in the center, turn it clock-wise, wait for each strike. Wind fully each time, but do not over-wind. Never display grandfather clocks near a heat register or radiator. Be sure to attach them to the wall for safety. Most old grandfather clocks have a small hole for a screw inside on the backboard. To clean antique ivory, dust with a soft cloth or brush, and use a clean woolen cloth to buff it. If you get it wet, make sure to dry immediately. <<++++++++++++++++++++>> Wood Lacquer is not wook but looks like it, so we've included it here. To clean lacquer, use a lint free cloth and a very small amount of lemon. Never use wax. Use a humidifier in the room where it is displayed, and keep lacquer out of sunlight. Polish old carved furniture using paste wax applied with a stenciling brush. Buff using a shoe brush. Clean mildew on wooden furniture with a cloth moistened with one cup water mixed with one tablespoon bleach and one tablespoon liquid dishwashing detergent. Dry with a clean cloth. To remove unpleasant smell from an old chest of drawers, use baking soda, cat litter, or charcoal chips to absorb the odor. If the finish on a piece has gotten so dark that you can't see the beauty of the wood, give it the cotton-ball test. Moisten a cotton ball with acetone (nail-polish remover), and rub it on the finish. A clean cotton ball indicates that the piece has a polyurethane finish and needs paint and varnish remover to be refinished. A dark residue on the cotton ball indicates an old shellac finish, which can be easily removed with a product called furniture refinisher. Simply rub the refinisher on the piece to remove the old finish as Bruce did with an antique hard-maple organ stool. Finish the stripped piece with a coat of tung oil. Tung oil is one of the oldest finishes and one of the easiest to apply. Just rub it into the wood with a rag. When the wood begins to dry out after a few months, apply another coat. An old piece with a spotty finish doesn't necessarily need a complete refinishing job. Bruce applied a coat of tung oil to the worn top of an old oak humidor to make it blend in with the still-perfect base Rearrange lamps and decorative items on wooden tabletops. If you don't, exposed wood will lighten and unexposed wood will remain dark after time. BOOKS & PHOTOS If displaying paper items, remember that light of all kinds (electric and sunlight), will eventually harm paper. Use cloth gloves when handling old photos. If musty, put book in plastic bag with some kitty litter. Do NOT use litter with scent or clumping additives... Just plain, cheap clay litter. Leave bag closed for at least a week. Repeat if necessary. Use the vacuum with upholstery brush to clean dust from books Paper must be protected from becoming damp, which encourages mildew and fungi to develop, or becoming too dry, which causes dangerous brittleness. Humidity must be watched in the preservation of old books and manuscripts. The brown spots known as 'foxing' which appear on old paper and often spread alarmingly through pages are caused by excessive dampness. If foxing develops on the pages of an old book or manuscript, the attention of an expert is immediately requires to prevent further rapid deterioration. Do not expose old books and manuscripts to strong light which turns pages yellowish or even brown over a lengthy period of exposure. Watch for destructive insects attacking antiquarian volumes-regular dusting and wiping is the best safeguard. 'Silver-fish' that appear with damp will devour leather, buckram and paper if left to ravage. Woodworm in a bookcase will occasionally attack volumes. Humidity changes also affect old leather bindings. If the leather has 'gone dry' careful applications of a good leather dressing will usually restore suppleness and colour. If you have an old album with photographs in it, you can help to preserve them by layering each page with acid-free tissue or photographic conservation paper. It's tempting to write information on the back of a photo, especially in ink. However, it is best to write any information on the back with an HB pencil. As well as an archival grade album, use polyester corner mounts. Don't glue photos directly into the album. Instead, lay the photo on the page or weigh the photo down with a clear piece of paper and a weight. Pencil mark the corners and position the corner mounts around the photo. You may need tweezers to do this. If there is information you want to include about a photo, you can write it under the photo in pencil or with a fountain pen with a stable ink such as Quink. When handling photos, hold them by the edge so you don't touch the emulsion. Keep photos in a cool, dry place and out of direct light; beware of insect attack. Regular checks will help save your photos from damage. The storage area should have a stable temperature and humidity - ideally around 15°C to 19°C and 40 to 55 per cent relative humidity. Make sure the area is clean and there are no signs of insects. Textiles If you scorch a textile while ironing, rub a cut onion over the scorch, then soak cloth in cold water for one hour. Rewash and try again. Silk prints should be kept from light and displayed for short periods of time. Store them away from heat, light and dampness with tissue layers between panels. Unroll every 6 mo. to let them breath. Clean antique cloth dolls by gently vacuuming through a layer of nylon net. Do not vacuum silk.Even hoovering can cause further damage. The suction could be strong enough to pull the fabric apart. Flat, sturdy textiles may be cleaned by covering them with a microfilament net (make sure the raw edges of the net are covered or they can catch on the fabric) and using a vacuum cleaner on a very low power setting. If fibres rather than dirt are coming off, stop immediately. Any further cleaning should be discussed with a textile conservator. Never be tempted to use boiling water or such things as soda crystals with old textiles. Storage There are a number of specialist storage solutions designed to protect textiles. Acid-free tubes - large flat textiles are best stored face upwards on a large tube. It is difficult to find acid-free tubes so if you are using regular rolls find one with a large circumference (at least the size of a coffee mug). Cover with four or five layers of acid-free tissue. This will need to be replaced when it starts to yellow. Plastic piping can also be used for rollers. Make sure it is clean and the ends are smooth. Carefully roll the piece trying to keep it smooth. You may need help doing this if the object is large. When finished, cover by rolling acid-free tissue over it allowing it to extend beyond the textile. Tie at the ends with cotton tape. If it needs more ties, make sure the ties aren't pressing into the textile. Acid-free boxes - try to purchase boxes that allow textiles to be stored without having to fold them too much, as folds can turn into splits. Start by lining the box with the tissue letting it extend over the edges. This can be folded over the final layers to keep it in place. Heavy items like beaded dresses should be boxed rather than hung. Never use blue tissue, the dye can rub off onto the textiles and it's acidic. If you have to fold textiles, soften the folds by rolling up tissue and place it inside the fold. It is also helpful to use the tissue to pad areas (not too tightly) that may be crushed. Hangers - to safely hang a costume, find a sturdy hanger that follows the shoulder shape of the garment (this is very important). It should not extend beyond the sleeve. Avoid wire hangers as they're not strong enough. Cover the hanger with polyester wadding (check to see that it is flame proof) and then with a sheet of clean white or off-white cotton or polycotton. General housekeeping tips Don't use plastic. It can attract dirt through static electricity, develop condensation which can encourage mould and when it chemically breaks down it can give off degradation products. Coverings should be of clean white or off-white cotton or polycotton. The best coverings are shaped like garment bags. Try to give textiles enough hanging space so they are not crushed against other items. Information courtesy of Sharon Manitta. |
Antiques and collectibles must recieve special care and cleaning, otherwise you loose the true luster of time... The warmth of age-old hands leaving their impressions upon the metal, porcelaine, silver, and glass, that they so lovingly held dear... allowing these treasures to still be here today! |
Men's Jewelry l Children's Jewelry l Ladies Jewelry l Brooches l Bracelets l Pendants l Rings l Necklaces l Cameos l Costume Jewelry l Vintage Jewelry l Watches l Clothing l Men's l Ladies l Children l Doll Glassware l Figurines l Dishware l Vases l Porcelains l Plates l Cut Glass l Head Vases l Staffordshire l Metalware l Blue Willow Perfume Bottles l Atomizers l Crystal l Cut Glass l Figurine |
Copyright 2003-06. All rights reserved. site design by bboss |
Looking for something special for that special someone?? Let Fancy know and she may have it or know where it is! (It's called Seeker Services) |
Note: All prices are subject to change as all items within Lizzie's Antique Parlour are collectible, antique or vintage items whose listing price changes daily. To purchase any of the excellent antiques within the parlour, simply note the price and the item name, that is displayed below the picture, and then proceed to PayPal, Lizzie's Antique Parlours' preferred payment processor. Fill in the information accordingly, adding $5.00 for shipping and handling costs to the item price, unless additonal shipping is stated. If you do not have an account with PayPal, and wish to pay with credit card, we do not have a processor at this time. However, PayPal will allow purchase with a credit card, e-check, debit card, or from your bank account once you are verified. We do not accept personal checks. But we'll accept cashiers checks and money orders. Please allow 2-4 weeks for delivery, via US parcel post, unless specifically arranged otherwise and the shipping costs being forwarded per carrier choice. If you are not completely satisfied with your purchase, you may return* the item within 15 days and your money will be returned to you, minus the cost of shipment. NOTE *Does not apply to items purchased via EBay. Lizzie's Antique Parlour reserves the right to change our purchase procedures at any time without notice, as well as, any other sop which we apply, stated or implied. All prices subject to change! If no price listed, please email Lizzie's Antique Parlour for cost. If any page within this site does not appear properly, please email the webitor |
Lizzie's Antique Parlour Care of Antiques ~ Tips ~ Hints ~ Etc. Antiques for every area in your home, inside & out! |
Note: All prices are subject to change as all items within Lizzie's Antique Parlour are collectible, antique or vintage items whose listing price changes daily. To purchase any of the excellent antiques within the parlour, simply note the price and the item name, that is displayed below the picture, and then proceed to PayPal, Lizzie's Antique Parlours' preferred payment processor. Fill in the information accordingly, adding $5.00 for shipping and handling costs to the item price, unless additonal shipping is stated. If you do not have an account with PayPal, and wish to pay with credit card, we do not have a processor at this time. However, PayPal will allow purchase with a credit card, e-check, debit card, or from your bank account once you are verified. We do not accept personal checks. But we'll accept cashiers checks and money orders. Please allow 2-4 weeks for delivery, via US parcel post, unless specifically arranged otherwise and the shipping costs being forwarded per carrier choice. If you are not completely satisfied with your purchase, you may return* the item within 15 days and your money will be returned to you, minus the cost of shipment. NOTE *Does not apply to items purchased via EBay. Lizzie's Antique Parlour reserves the right to change our purchase procedures at any time without notice, as well as, any other sop which we apply, stated or implied. All prices subject to change! If no price listed, please email Lizzie's Antique Parlour for cost. If any page within this site does not appear properly, please email the webitor |
Looking for something special for that special someone?? Let Fancy know and she may have it or know where it is! (It's called Seeker Services) |
Language of the Silversmith
This glossary of terms are used by silversmiths and collectors to describe metal standards and various techniques of decoration.
| Beading: | Ornamentation, as along a border, with a continuous row of tiny hemispheres. |
| Bright-Cut Engraving: | Engraving in which metal is removed by beveled cutting tools to form reflective facets |
| Chasing: | An incised, fine design created by hammering the outer surfaces using small, sharp tools that do not cut away any metal. |
| Coin: | An alloy composed usually of 900 parts per 1,000 of silver. |
| Die: | A metal stamp used to create an ornamental design. |
|
Electroplating: |
Electrical method of coating a base metal with a thin layer of silver. |
|
Fine Silver: |
Metal that is 999 parts pure silver per 1,000, essentially pure silver. |
| Fluting: | Parallel concave vertical panels. The term is also loosely used to refer to convex ornamentation of this sort, which is more properly called reeding. |
| Gadrooning: | Ornamentation, usually on a border, with parallel raised ovals resembling twisted rope. |
| Matting: | Deliberate dulling of a surface with fine punches or scratches. |
| Piercing: | Ornamental perforations resembling lace. |
| Plate: | In British usage, solid silver of sterling standard or higher, not to be confused with plated silver in British usage or silver plate in American. |
|
Plated silver: |
In British usage, electroplate. |
| Raising: | The process of hollowing a flat sheet of metal by alternately hammering and heating it. |
| Reeding: | Narrow vertical convex panels. |
| Repousse: | High-relief ornamentation produced by hammering from the back or from the inside. |
| Sheffield Plate: | Thin sheets of silver and copper fused together. |
| Silver Plate: | In United States usage, electroplate. |
|
Sterling: |
An alloy of 925 parts fine silver per 1,000, standard in England since the 1300s. |
| Threaded: | Bordered with fine raised lines. |
And for all of you antique hunters we have provided a glossary of terms you may see while shopping at Lizzie's Antique Parlour.
Glossary of Ceramic Terms |
|
Bisque |
White, unglazed porcelain usually found in the composition of groups and figures |
Body |
The clay composition of an article. |
Bone China |
A ceramic class made from calcined animal bone ash (at least 50% of the paste mixture) with china clay and feldspar composing the rest. Josiah Spode I invented this form in the late 1700's. England is the primary producer of bone china which is translucent and considered a form of porcelain. |
Bow Knot |
A border characteristic found on Blue Willow patterns. |
China |
A term appropriate only to hard paste porcelain; frequently used for any ceramic. |
Cobalt |
Ore found in copper, silver, and tin mines. The oxide formed from this mineral produces a substance used for coloring ceramics (cobalt blue). |
Crazing |
Fine lines appearing on the glaze of earthen wares caused by heat or age. |
Delft |
A colored, tin glazed earthenware frequently blue and white, made first in Delft, Holland. |
Earthen Ware |
Pottery having a porosity of more than 5%. It is made from many different types of natural clays including kaolin, ball clay and Cornish stone. Earthen wares are opaque and may be glazed or unglazed. |
Fayence (faience) |
A variety of glazed pottery usually highly decorated in colors. The term is now applied loosely to cover all kinds of artistic pottery, including majolica and delft. |
Fishroe |
A term referring to the outer border characteristic of several Blue Willow border patterns composed of a series of squares or circles with dots in the middle. |
Glaze |
A liquid applied to ceramic bodies for decoration and /or to achieve vitreosity. |
Hard Paste |
A class of ceramics whose primary ingredient is kaolin, a type of earth containing hydrated aluminum silicates. Kaolin accounts for 50% of the paste with feldspar being the other main ingredient. It is called "hard" paste porcelain because it is fired at extremely high temperatures. Hard paste is also referred to as true or natural porcelain since its chief components exist naturally in the earth. Hard paste porcelain is translucent and vitreous if glazed. It is very strong and does not craze. |
Impressed |
Marks that are made in the form of a stamp and pressed into a ceramic body before it is fired. Stamped in the body of the ware while it is still soft. |
Incised |
Marks that are sharply cut into the clay body of an object before it is fired. |
Ironstone |
A type of stone ware patented by Mason in England in 1813. Iron slag is pulverized and mixed with the clay to form this type of ceramic body. |
Majolica |
Earthenware coated with an enamel that is sometimes lustered. Highly decorative, glazed pottery, often produced in Italy. |
Monochrome |
One color decoration. |
Nankin |
Inner border on Willow pattern ceramics. |
Opaque |
Meaning that light cannot pass through an object. |
Overglaze |
Refers to hand painted or transfer decoration applied to ceramic object after a glaze has been applied and fired. It show wear through time and can be damaged. |
Paste |
The clay mixture used to form the body of ceramic objects. |
Polychrome |
The use of more than one color in decorating ceramic items. |
Porcelain |
Ceramics that are translucent and usually vitreous. The term usually refers to true or hard paste porcelain. Characterized by a clear ring when struck. Soft paste porcelain can be scratched by any sharp instrument, leaving a soft powder. While hard paste resists a tool. A granular fracture is presented by soft paste, while hard will leave a smooth, curved surface at the break point. |
Pottery |
Any object made of clay and fired at a high temperature. |
Printed Marks |
Simple hand painted initials or marks, either initial forms or more elaborate, made in the form of a stamp or transfer applied to a ceramic body over or under glaze. |
Semi-Porcelain |
Earthenware ceramics. Semi-porcelain objects are opaque and non-vitreous. |
Spur Marks |
Small rough spots made by the clay supports which hold and separate ceramic plates and platters in the kiln during the firing process. |
Staffordshire Knot |
A printed mark in the form of a bow used by many Staffordshire potters during the 19th century. |
Stoneware |
Pottery with a porosity of less than 5%. It is glazed and fired only once, at extremely high temperatures, until it is vitrified. Stoneware is made from natural clays of a sedimentary type, fine grained and plastic. It is opaque, heavy and quite durable. |
Transfer |
A method of decorating ceramics where a design is engraved on a copper plate. The lines of the design are filled with paint and the plate is placed on a hot copper plate. A tissue paper, covered with a soapy mixture, is first pressed into the engraved design, than placed to a n object face down (transferred) and rubbed hard onto the object. The object is coated with a varnish and is also heated so that the pattern will stick. When the piece is dry, the paper is washed off. |
Translucent |
Allowing light to pass through. This term refers to the chief characteristic of porcelain. |
Under glaze |
Hand painted or transfer patterns or decorations applied to the body of a ceramic object before a glaze is applied which is permanent and cannot be destroyed. |
Vitreous |
Meaning glass-like. This state is achieved when glazes made of glass-forming materials are applied to a ceramic body and fired at a high temperature until the object and glaze fuse together becoming one entity. |
Courtesy of: "Gaston's BLUE WILLOW", 3rd Ed. "Identification & Value Guide" by Mary Frank Gaston, 2004. |
|
Roll mouse over picture to see another view. |
Copyright 2003-06. All rights reserved. site design by bboss |
Men's Jewelry l Children's Jewelry l Ladies Jewelry l Brooches l Bracelets l Pendants l Rings l Necklaces l Cameos l Costume Jewelry l Vintage Jewelry l Watches l Clothing l Men's l Ladies l Children l Doll Glassware l Figurines l Dishware l Vases l Porcelains l Plates l Cut Glass l Head Vases l Staffordshire l Metalware l Blue Willow Perfume Bottles l Atomizers l Crystal l Cut Glass l Figurine |
|
Antiques and collectibles must recieve special care and cleaning, otherwise you loose the true luster of time... The warmth of age-old hands leaving their impressions upon the metal, porcelaine, silver, and glass, that they so lovingly held dear... allowing these treasures to still be here today! |
| PayPal?eBay's service to make fast, easy, and secure payments for your eBay purchases! | |
 | |
|
Antique Gold Castle Opalized Vase with hand painted heirloom roses in various colors. 4 1/2" w. x 8 1/4" tall |
Antique Bud Vase Ladies Hand |
Antique Tips ~ Cleaning & Caring for your heirloom items... Coins should be left in "found" condition. Cleaning makes them less desirable to collectors. Do not polish dark antique bronze or you will destroy the old patina and lower the value of the piece. Clean andirons using liquid metal polish and 0000-grade steel wool to remove resin caused by smoke. To polish brass make a paste of equal parts of salt, flour and vinegar. Rub on brass with a soft cloth. Rinse completely. Shine with a clean, dry, soft cloth. Chlorine in cleaning products products will harm bronze items displayed in a room where these products are used. Don't use plastic bubble wrap to store silver and ceramics. Heat and humidity can cause permanent discolorations. Tin signs or cans will fade in ultraviolet sunlight, or fluorescent light. Small nicks in decorative iron pieces can be hidden with black crayon. Lemon juice will remove the remains of gum, adhesive tape, and other sticky tapes. When storing old toys remember to remove the batteries first. When repairing dolls remember that changing the original hair in any way will lower its value. Store plastic toys or other plastic items away from the heat, not touching one another. Antique clocks must be cleaned and lubricated every five years. To set most clocks, hold the minute hand in the center, turn it clock-wise, wait for each strike. Wind fully each time, but do not over-wind. Never display grandfather clocks near a heat register or radiator. Be sure to attach them to the wall for safety. Most old grandfather clocks have a small hole for a screw inside on the backboard. To clean antique ivory, dust with a soft cloth or brush, and use a clean woolen cloth to buff it. If you get it wet, make sure to dry immediately. <<++++++++++++++++++++>> Wood Lacquer is not wook but looks like it, so we've included it here. To clean lacquer, use a lint free cloth and a very small amount of lemon. Never use wax. Use a humidifier in the room where it is displayed, and keep lacquer out of sunlight. Polish old carved furniture using paste wax applied with a stenciling brush. Buff using a shoe brush. Clean mildew on wooden furniture with a cloth moistened with one cup water mixed with one tablespoon bleach and one tablespoon liquid dishwashing detergent. Dry with a clean cloth. To remove unpleasant smell from an old chest of drawers, use baking soda, cat litter, or charcoal chips to absorb the odor. If the finish on a piece has gotten so dark that you can't see the beauty of the wood, give it the cotton-ball test. Moisten a cotton ball with acetone (nail-polish remover), and rub it on the finish. A clean cotton ball indicates that the piece has a polyurethane finish and needs paint and varnish remover to be refinished. A dark residue on the cotton ball indicates an old shellac finish, which can be easily removed with a product called furniture refinisher. Simply rub the refinisher on the piece to remove the old finish as Bruce did with an antique hard-maple organ stool. Finish the stripped piece with a coat of tung oil. Tung oil is one of the oldest finishes and one of the easiest to apply. Just rub it into the wood with a rag. When the wood begins to dry out after a few months, apply another coat. An old piece with a spotty finish doesn't necessarily need a complete refinishing job. Bruce applied a coat of tung oil to the worn top of an old oak humidor to make it blend in with the still-perfect base Rearrange lamps and decorative items on wooden tabletops. If you don't, exposed wood will lighten and unexposed wood will remain dark after time. BOOKS & PHOTOS If displaying paper items, remember that light of all kinds (electric and sunlight), will eventually harm paper. Use cloth gloves when handling old photos. If musty, put book in plastic bag with some kitty litter. Do NOT use litter with scent or clumping additives... Just plain, cheap clay litter. Leave bag closed for at least a week. Repeat if necessary. Use the vacuum with upholstery brush to clean dust from books Paper must be protected from becoming damp, which encourages mildew and fungi to develop, or becoming too dry, which causes dangerous brittleness. Humidity must be watched in the preservation of old books and manuscripts. The brown spots known as 'foxing' which appear on old paper and often spread alarmingly through pages are caused by excessive dampness. If foxing develops on the pages of an old book or manuscript, the attention of an expert is immediately requires to prevent further rapid deterioration. Do not expose old books and manuscripts to strong light which turns pages yellowish or even brown over a lengthy period of exposure. Watch for destructive insects attacking antiquarian volumes-regular dusting and wiping is the best safeguard. 'Silver-fish' that appear with damp will devour leather, buckram and paper if left to ravage. Woodworm in a bookcase will occasionally attack volumes. Humidity changes also affect old leather bindings. If the leather has 'gone dry' careful applications of a good leather dressing will usually restore suppleness and colour. If you have an old album with photographs in it, you can help to preserve them by layering each page with acid-free tissue or photographic conservation paper. It's tempting to write information on the back of a photo, especially in ink. However, it is best to write any information on the back with an HB pencil. As well as an archival grade album, use polyester corner mounts. Don't glue photos directly into the album. Instead, lay the photo on the page or weigh the photo down with a clear piece of paper and a weight. Pencil mark the corners and position the corner mounts around the photo. You may need tweezers to do this. If there is information you want to include about a photo, you can write it under the photo in pencil or with a fountain pen with a stable ink such as Quink. When handling photos, hold them by the edge so you don't touch the emulsion. Keep photos in a cool, dry place and out of direct light; beware of insect attack. Regular checks will help save your photos from damage. The storage area should have a stable temperature and humidity - ideally around 15°C to 19°C and 40 to 55 per cent relative humidity. Make sure the area is clean and there are no signs of insects. Textiles If you scorch a textile while ironing, rub a cut onion over the scorch, then soak cloth in cold water for one hour. Rewash and try again. Silk prints should be kept from light and displayed for short periods of time. Store them away from heat, light and dampness with tissue layers between panels. Unroll every 6 mo. to let them breath. Clean antique cloth dolls by gently vacuuming through a layer of nylon net. Do not vacuum silk.Even hoovering can cause further damage. The suction could be strong enough to pull the fabric apart. Flat, sturdy textiles may be cleaned by covering them with a microfilament net (make sure the raw edges of the net are covered or they can catch on the fabric) and using a vacuum cleaner on a very low power setting. If fibres rather than dirt are coming off, stop immediately. Any further cleaning should be discussed with a textile conservator. Never be tempted to use boiling water or such things as soda crystals with old textiles. Storage There are a number of specialist storage solutions designed to protect textiles. Acid-free tubes - large flat textiles are best stored face upwards on a large tube. It is difficult to find acid-free tubes so if you are using regular rolls find one with a large circumference (at least the size of a coffee mug). Cover with four or five layers of acid-free tissue. This will need to be replaced when it starts to yellow. Plastic piping can also be used for rollers. Make sure it is clean and the ends are smooth. Carefully roll the piece trying to keep it smooth. You may need help doing this if the object is large. When finished, cover by rolling acid-free tissue over it allowing it to extend beyond the textile. Tie at the ends with cotton tape. If it needs more ties, make sure the ties aren't pressing into the textile. Acid-free boxes - try to purchase boxes that allow textiles to be stored without having to fold them too much, as folds can turn into splits. Start by lining the box with the tissue letting it extend over the edges. This can be folded over the final layers to keep it in place. Heavy items like beaded dresses should be boxed rather than hung. Never use blue tissue, the dye can rub off onto the textiles and it's acidic. If you have to fold textiles, soften the folds by rolling up tissue and place it inside the fold. It is also helpful to use the tissue to pad areas (not too tightly) that may be crushed. Hangers - to safely hang a costume, find a sturdy hanger that follows the shoulder shape of the garment (this is very important). It should not extend beyond the sleeve. Avoid wire hangers as they're not strong enough. Cover the hanger with polyester wadding (check to see that it is flame proof) and then with a sheet of clean white or off-white cotton or polycotton. General housekeeping tips Don't use plastic. It can attract dirt through static electricity, develop condensation which can encourage mould and when it chemically breaks down it can give off degradation products. Coverings should be of clean white or off-white cotton or polycotton. The best coverings are shaped like garment bags. Try to give textiles enough hanging space so they are not crushed against other items. Information courtesy of Sharon Manitta. |
Cleaning & Caring ~ Hints & Tips ~ Glass & Pottery A signature on a piece of cut glass adds at least 25% to the value, but it can be difficult to find... Look on the inside flat spot of the bowl and hold bowl to light, and tilt so that the light reflects off the flat center part of the item, on the inside you should see a slight etched mark, if present.. Marble sculptures will discolor from pollutants if near a window or an active fireplace. They may scorch or crack near a heater. To remove ink from matte finish pottery use paste silver polish. Old mirrors reflect light w/off-white tone... Hold edge of white card against the glass. If reflection matches card, mirror probably dates from 1850 or later. If card looks off-white, slightly yellow or gray, the mirror was made before 1850. (House Beautiful) Reverse painted lamps, vases and such should never be washed, only dusted Use denture cleaner to remove build up in old bottles. White powder forming on glass or pottery with a lead glaze is poisonous. Remove the item! Do not store foods or beverages in crystal bowls or bottles for long periods of time. Vinegar, acidic juice, and alcoholic beverages will leach the lead out of the glass. Porous pottery and ironstone can be cleaned with wig bleach obtained from a beauty salon. Glass Christmas ornaments should never be stored in a damp basement. Mildew will cause damage. To clean glass with an irridescent finish, use cool water and very little mild soap. To check pressed glass use a black light. American pieces before 1930 fluoresce yellow. Reproductions do not fluoresce. Ceramics can be washed with soap and water, but only wipe gently with a damp cloth if they are repaired, damaged, or have cold-painted decorations. Coloured drinking glasses and decanters were produced in relatively small quantities in England during the 18th century. But 18th-century styles were much copied in the late 19th and early 20th century and some later versions are so convincing that even experienced collectors can be confused. Most of the coloured glass you'll come across dates from after 1800, when many lavishly decorated glass objects were made both in Britain and on the Continent Glass types Soda glass. Made in Venice from the 13th century. The soda was derived from burned seaweed, and gave the molten glass a malleable quality which allowed glassmakers to create very elaborate shapes. Potash glass. Made in northern Europe. The potash was derived from burned wood and bracken. Potash glass was particularly suited to cutting and engraving. Lead glass. Made from potash with the addition of lead oxide (instead of lime), this glass, developed by George Ravenscroft, was used in England and Ireland from the late 17th century, and in Europe from the late 18th century. Lead glass is characterised by its weight and is well suited to cutting. Decoration Cutting. Cut facets in glass emphasise its refractive (light transmitting) qualities. Cut decoration can help with dating. The earliest patterns were shallow surface cuts. Patterns became increasingly elaborate in the late 18th and early 19th centuries. Enamelling. Painting in coloured enamels was popular on Venetian glass from the late 15th century and became fashionable in England in the mid-18th century. The best-known English enamellers were the Beilby family. There are two types of enamelling: Fire enamelling - where the enamel was painted on the surface of the glass, and the glass fired to fix the decoration. This is the most permanent and usual form of enamelling. Cold enamelling (or cold painting) - which involved painting the glass without firing. This technique has the disadvantage that the enamel wears off easily. It was mainly used on inexpensive items. Gilding. Gold decoration was applied to the surface of the glass in a number of different ways. The most permanent method of gilding was by firing the gold onto the surface of the glass. An alternative method was oil-gilding, which involved applying a gold powder or leaf onto an oil base and burnishing. Gilding applied using this method is easily rubbed off. Engraving. There are four types of engraving: Diamond point engraving. The design was scratched onto the surface of the glass using a tool with a diamond nib. This technique was used in 16th-century Venice, and in England in the late 16th century. Wheel engraving. The design was engraved using small copper wheels of varying diameter which rotated against the surface of the glass. The technique was used in Germany in the 17th century, and became the most common form of engraving in England from the 18th century. Stipple engraving. A fine diamond needle was tapped and drawn on the surface to form a design built up from dots and small lines. This technique was popular in the Netherlands in the 18th century and is also found on English glasses. Acid etching. This technique involved covering the surface of the glass with varnish or grease, and scratching the design with a needle or sharp tool. The surface was then exposed to hydrofluoric acid which etched the design on the glass. This method was popular in the 19th century. Authenticity Fakes of many of the more expensive types of antique glass abound. Victorian glassmakers made imitations of 18th-century glass and many fakes have also been produced in the 20th century. These are often discernible in three key ways: Colour. The distinctive tint caused by impurities may not be present in reproductions. Manufacturing methods. Hand-blown glass usually has a pontil mark - a rough bump under the stem - where it was cut from the pontil rod. It may have striations or ripples in the glass and the rim may be of uneven thickness. Later, machine-made glass doesn't have these imperfections. Proportions. Glass has varied in style and proportion throughout the centuries. On old glasses, the foot is usually as wide as the bowl. The wrong proportions may indicate a fake. For Prices and more information of all kinds for antiques and collectibles, go to Kovels.com Costume Jewelry Fakes?? Go to Rhinestonerainbow.com to see examples of real and faux favorites like Trifari, Hobe', Coro & more. |
Dunn Bennette Cake Plate |
The Hon. Mrs. Thomas Graham (1757-1792). This portrait was created a year after her marriage to Hon. Thomas Graham. She fell ill and died during her journey to France in 1792. Her remains were defiled by the mob, as it happened during the French Revolution. Her husband, who loved her dearly, could not look at the portrait after her death. He ordered to take it away. The portrait was discovered by his descendants later and presented to the National Gallery of Scotland. Mrs. Sarah Siddons (1755-1831) English actress, the eldest child of Roger Kemble, manager of a small travelling theatrical company and sister of Charles, John Philip and Stephen Kemble, English actors. She acted in her father's traveling theater since early childhood and in 1782 joined Drury Lane. Her success was immediate, and from then on she was the undisputed queen of tragedy on the London stage. In 1803 she followed her brother John Philip Kemble to Covent Garden, where she performed until her retirement in 1812. |
Lizzie's Antique Parlour
Fine Antiques Care and Cleaning
