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Why collect Depression Glass ...

Tue, 12 Jul 2011 10:00:27 GMT

There are as many reasons to collect as there are collectors and Depression glass is no exception. For most vintage Depression glass fans the attraction is the wonderful nostalgia attached to it especially in North America where the Depression era was hard hit and any recollection of family life from the historically lean years is near and dear in many collector’s hearts. Another great reason to collect in the area of Depression glass is that there are so many patterns, styles, colors and items that it literally has something for everyone and prices range from very little to some pieces with high end values. Depression glass was a utilitarian inexpensive glass that was used daily in most homes in the 1930’s. Collecting of it offers a peak at a part of history most of the collectors today recall only through their parents and grandparents stories of the tough times. Because it is so close to the current generation today most families still have some pieces still kicking around. It can also be readily found at inexpensive thrift stores and tag sales making it a very affordable area to start a collection in.

The molded glass was typically of poor quality and mass produced having many flaws and air bubbles. It was made in virtually every colour the now popular varieties are in pinks, blue, green, amber, and also in opaque and iridescent. Many patterns carry lovely names offering a hint to royalty and prestige brightening up the struggling households of the dirty thirties. Often companies would offer the inexpensive glass as a purchase premium to encourage sales and housewives of the day could scoop the likes of ice cream bowls and teacups from their household boxes of basic staples such as detergents and cereals. Not to be outdone their husbands could bring home pieces from filling their gas tanks at participating gas stations.

The collecting rage of early and mid-century modern and the vintage kitsch representative of North American life up to the mid 1900’s is a hot area for collectors. One of the reasons for the trend is the items are uniquely from this continent, directly relate to a lifestyle most are familiar with and it offers North Americans an area of collecting that is both accessible and affordable. Newly budding collectors and seasoned pros can both dabble and hunt in the same playing field allowing a great sharing of both knowledge and passion for this wonderful collectible which was literally found in every home in North America in its day. People collect for many reasons but mostly to cherish and enjoy their finds and to bring back memories of an era gone by. Depression glass does just that while telling a history of one’s own family not that long ago.

bakelite? or fakelite? pics - see previous entry for the answer ...

Wed, 30 Mar 2011 10:37:00 GMT

Bakelite or Fakelite ... is it real?

Wed, 30 Mar 2011 10:14:09 GMT

When many think of Bakelite the images of plastic bangle jewellery pop to mind. The craze of the 1920’s through to the 1970’s are for the most part not Bakelite. Many plastics such as Lucite, celluloid, and others, including some Bakelite were molded and tinted into fashion by many makers. Following the war years many inexpensive plastics diluted the market and the quality and the popularity declined. This mass produced item had many makers with some items marked but most not. Coro and Lisner were two of the popular makers of the plastic jewellery trend intended to mimic the highly sought after Art Deco era 1920’s through 1930’s true Bakelite bangles and items now often fetching over $1000 on the collector market.

Bakelite was not just for bangles and jewellery and many items of the era highly collectible and made of Bakelite include cameras, clocks, inkwells, cufflinks, and even desk fans. The mercury brown pistol style cameras of 1930’s and the rare Holly red 1950’s Bakelite box cameras are fetching up to $1000 values in the right market.

So how does one tell if their treasure or great find is indeed Bakelite? The simplest means of testing consist of the hot-water method, where a characteristic odour much like chemical shellac-like emits when the item is warmed under hot running tap water for about 30 seconds (this is not recommended for any item with mixed non plastic materials such as carved woods). Another method a little more harsh is using the product Formula 409 which when rubbed will leave a yellowish residue on the cloth (test this in a small not visible area such as the backside or a pin or inside of a bangle and wash the item with warm soapy water immediately following the test). The down side to this testing is not all Bakelite items will pass all these tests especially if they are very dirty and aged or have had previous chemical tests causing stripping. It is always best to have a reputable dealer verify your item and teach you the proper methods and developing your nose for the true unique Bakelite smell.

Popular bangle bracelet styles to collect include carved designs such as basket weaves, swirling, geometric, floral, and the highly sought after apple juice Bakelite and the hinged carved Scotty dog style. Not just bangles of Bakelite are hot items, the many other items such as dangling fruit pins, animal pin, and pins of sporting themes such as gold or riding are also around and bring high values. Highly collectible items include a Bambi fawn painted pin, a carved leaping gazelle, a jet black swordfish, a yellow marbled chess knight, and dangling pins with cherries, or school themed with a slate, pencil and book hanging on a ruler.

The late-use 1960’s Bakelite was rarer but is found in some necklaces and earrings often sporting bright colours and mod flower power themes of the pop days and can realize values in the hundreds for the right buyer.

Don’t fret it the true Bakelite craze is beyond your collecting pocketbook as the 1960’s ‘pop’ period of plastic and Lucite jewellery is fast becoming a hot area of collecting and still very findable at a reasonable price and just plain fun to wear.

Cleaning & Repairing tips for Vintage Jewelry ...

Sun, 10 Oct 2010 09:42:12 GMT

With the hot fashion statement of vintage so in these days extra care should be taken in cleaning and repairing your lovely vintage jewellery and sparkling rhinestone finds. Antique and vintage jewellery is one of the few collectibles one can buy to truly enjoy and wear as the cost of the imposters to real jewels is minimal the enjoyment from wearing it far outweighs the risk of loss.

Rhinestone costume jewellery beauties, often called foil and paste, are not made from precious metals or real stones so extra care is necessary to keep your less than perfect fun baubles in sparkling condition. The synthetic cut-glass stones often have foil in behind to add more colour and reflection and also as it is so much softer than gemstones it is easily scratched and tends to look duller.

Moisture can and will destroy your favourite piece of rhinestones jewellery if it is not cleaned properly. Not just cleaning product or water moisture but your own sweat can harm these lovely stones. The moisture can collect under the foil behind the stone eventually peeling it away and deadening the sparkle.

Brushing the piece with a soft clean cosmetic or small artists brush will remove the dust. Any built up residue can be gently eased away with a tiny piece of a lens cleaning cloth moistened on the cloth only, not the gems, with an approved eyeglass cleaner. If any scrubbing action is needed to get the piece clean water damp but well squeezed out q-tip can be used.

Cleaning the metal should only be buffed using a soft jeweller flannel-cloth intended for that purpose with care being taken not to catch any of the setting in the cloth while buffing. Placing the cleaned jewellery upside down while drying after cleaning will help prevent any moisture from seeping into the foiled back between the stone and the metal.

To replace or repair any damaged or lost rhinestones care must be taken to not scratch the soft synthetic or glass gems in the changeover. Stone setting pliers and jewellers tools will aid in the delicate process as will a professional glue. Jeweller’s glue, also used in eyeglass repair, will not yellow with age.

Many websites are available where you can find replacement stones in all shapes, colors and sizes such as round, square, flat back, pointed and more can be had to repair your vintage and antique jewellery.

Not all costume jewellery carries little value so cleaning and caring for your gems will protect your investment. Many famous makers of authentic jewels stepped out in the 1920’s and through the post war times, creating intentional fake gem pieces to market to the everyday woman. Many of these synthetic pins and jewels by notable makers such as Trifari, Dior, Chanel, Eisenberg and more are avidly collected and bringing strong prices in spite of their imitation qualities.

How to store Vintage Postcards ...

Mon, 09 Aug 2010 08:24:19 GMT

Vintage and collectible postcards have become a hot collectible marking many occasions, seasons, lifestyles and important social history of their day. Inexpensive treasures can still be found but high prices can equally be realized so storing and displaying your antique postcards is an important part of collecting this delicate ephemera.

As paper is such a delicate product with a life expectancy of less than fifty years, storing it in the wrong method could seriously devalue or totally destroy your hard earned collection. Many attractive album style books are on the market to display your collections. But do your homework as some may look great to organizing and enjoy your postcards but the paramount feature you need to ensure is that of preservation.

Archival quality acid free and PVC-free transparent sleeves are the safest method of storing your individual antique postcards while allowing for viewing pleasure. They allow for protection not only from the oils on your skin but from environmental affects as the mylar-like sleeves do not introduce harmful chemical in their structure. Non-archival plastics can contain chemicals which will breakdown and destroy your treasures quickly deteriorating your collection.

For further protection from handling be sure that the sleeves openings are large enough to not have to bend an edge or crease a corner while sliding the cards into place. The sleeve itself should be heavy enough to support your card for viewing front and back with no paper insert which could further deteriorate your postcard through the paper’s chemical breakdown over time.

Not only the protective sleeves need to be archival quality but also the album cover, boxes or slipcases must be professional collector quality to ensure safe keeping. If using a box method with indexing and tabs be certain the paper dividers are of archival quality also. Some collectors are even using metal boxes ensuring greater protection from outside hazards. Climate, temperature and humidity can all wreak havoc on your collection and must be closely monitored to be sure moisture or sever heat or cold are not affecting the sleeves and in turn your prized postcards.

If wanting to both safely store and display your collection at the same time there are many retailers offering archival quality display cases, suitcase-like displays, postcard frames with glass both front and back for total viewing, shadow boxes and coffee table stands. In selecting your storage and display always consider that air, moisture and chemicals damage can lift the inks, fade or discolour the postcards and even disintegrate them over time.

Select your storage wisely for years of preservation and enjoyment of your passion as a deltiologist, a collector of picture postcards.

To RESTORE or not to RESTORE ...

Sat, 10 Jul 2010 02:08:05 GMT

The pros and cons in whether to restore your antique treasure or to preserve it in its current condition is a decision to not make in haste keeping in mind that often in the antique world less is more. Many times the original condition, no matter how ragged it might seem may bring the greatest value. Other times a repair or restoration may increase the value.

The decision to restore, refinish or preserve your antique is often a personal one and directly relates to the piece itself. It could be a historic family piece which will remain in the family and worth preserving the item. It may also simply be an investment piece and the owner may be looking to get the best value from their antique investment in a future resell scenario.

This decision can only be made by you but the knowledge and advice should come from professionals such as a trusted dealer, a museum conservation curator, a major auction house or a respected specialist in the area of your item in question. Typically restoration will involve some repair and cleaning but a refinishing is much more drastic as it would strip away original stains and resins and most times greatly reduce original condition value.

A solid survey of the piece in question and a good cleaning will help determine the extent of any work you may want to consider. Cosmetically some blemishes can be easily repaired with great success at a low cost such as stains, burns or water marks. Although these can be removed the idea of an antique is not necessarily to be in original mint pristine condition. After all, the item is 100 years old and patinas and worn away paint will speak to the age actually becoming part of the true valuing process.

Missing handles or hardware should be replaced with original materials of the era and not modern reproductions as that will also negatively affect the value. In the case of a restoration which should ultimately bring it greater value, the work will need to be done by a qualified professional and not by unskilled hands at home.

The idea is to restore the item to as original condition as possible using as many original products as possible to carry out the work. Ask what materials will be used for the work and do not be afraid to get a second professional opinion as to the glues or resins in question to determine that the proposed plan of action will actually increase the value and not decrease the quality.

The cost of the restoration must also come under close scrutiny determining if indeed the dollars spent will proportionately increase the value of the antique. In determining the full cost of any work, consider also the delivery charges as well as storage and insurance during the work. Do get it all in writing with a proper claim check slip before turning over your treasure to ensure a smooth process and a safe return of your restored and hopefully increased in value antique.

Another point of restoration is the ability for the work to be reversed. A qualified restoration service should offer this possibility and confirm a cost to reverse the restoration if indeed it proves down the road the original condition would garner the highest values.

Determining the age of an antique ...

Fri, 20 Nov 2009 03:26:02 GMT

The old adage of experience comes with age is especially true in the area of antique appraisal. The older the antique the more experience one will need in determining true age. The greater you knowledge and background of your area of collecting the quicker it will become to pinpoint the era. The clues to the dating of antique furniture are in the items themselves and on close scrutiny there are many factors to consider.
The authenticity of the antique is first to determined as many of the checklist items to follow will rely on the fact that the item is indeed genuine. Normal signs of aging, patinas, natural discolouration of metals over time along with authentic markings in the correct place are some of the obvious things to check for. Authentic well aged items should have also have natural wear and tear from a century of use in places such as the handles and knobs, feet and backs and on the arms of chairs. If anything looks suspect then chances are high, in this age of fakery, that the item is a remake and further scrutiny is necessary.
Upon determining the item is a genuine antique the first obvious clue to age is the style which will indicate a certain time period. The Medieval Tudor Style dates to 1066-1550, Elizabethan Jacobean 1550-1660, Queen Anne 1660-1720, Georgian 1720-1800, Regency 1800-1830, Victoria 1830-1870, and Edwardian 1870-1914 along with the Arts & Craft movement. The period of 1914-1940 is known as Between the Wars Years bringing in the Art Deco styles. With 1940-1970 bringing the Post War Years and Mid-Century Modern.
Along with the authenticity and style will come any marking of maker or location often bringing great clues as to the origin of the item, along with further research into know makers and manufacturers. These marking can also be easily replicated to the untrained eye and should be only one part of determining the age.
Materials used in construction of the item will also play a role in the true age. Check for nails and fasteners as old nails were handmade with square hand beaten heads. Hand forged nails date back to the 1700’s with cut nails produced by the late 1790’s for the next hundred years when machined wire nails and screws came into play. Any stapling in furniture indicates the last century.
Construction methods offer big clue to age such as hand cut dovetail joins along with tell-tale signs of old tools and plains being used which left scar marks unlike the modern radial precision tools. Prior to the 1830’s wood was hand cut often leaving marks on the backsides of furniture. Sawmills cutting up to the mid 1800’s left straighter markings and circular cutting and hand sanding taking over by the last half of that century. One large dovetail join in a drawer could be 1700’s as by the 1800’s cabinet makers were utilizing several joins and machine cuts.
Natural darkening of the woods around the nails should be present over time as the iron corroded as should the old animal based glues look crystallized. Wood pegs should slightly jut out as the wood shrinks across the grain and over time and will naturally misshape authentic items.
Threads and materials utilized and stitching methods in any textiles on the furniture are also indicators of age. The skill levels of handwork and ornamentation are the obvious indicators as high quality craftsmanship is indicative to antiques and anything hinting at mass assembly is a tell tale sign of a more modern item.
Authenticity, style and era, signs of aging, materials and craftsmanship, makers and marks and collector knowledge will all come into play in determining the age of an antique.

Black Light testing antiques ...

Fri, 21 Aug 2009 09:29:33 GMT

Carrying a simple keychain size black light on your next antique hunt could prove to be a valuable tool. Most people know that certain older glass will glow under the black light but it can also reveal many other authenticating tricks used by the antique appraisal experts including age, imperfections or damage.

The magic of the black light is that it will cause certain properties to fluoresce in a chemical reaction when put under the ultraviolet light. By targeting the light at a certain spot on an item the intensity is increased resulting in a high saturation of colors making things visible that were not before. This beam of ultraviolet light when directed for example at art work can reveal proof of restoration or repairs that may have taken place over time as the chemistry of modern paint will glow on the canvass, and would then greatly affect the value of the item.

In art glass, porcelain and pottery on detailed inspection in a dark room the black light beam will reveal cracks and chips that may not have been visible under the naked eye in the daylight. The green glassware of the depression era as well as Vaseline glass made with uranium oxide will seem to glow under the black light where as the whiter old glass will appear a yellowish tone with the results on old glass glowing at a different intensity to modern reproduction glass which does not glow or has a faint whitish blue tinge. The finish on the older porcelain will not glow but its modern reproductions will chemically react and light up under the black light as will the newer glues in any glass repair.

In the area of ephemera collecting the use of chemical and dyes in the modern papers will create a glow under the light whereas most old paper up to the 1930’s era will not light up making it an easy test for the vast number of reproductions in the paper collecting world. Old postcards and photographs will not reflect off the light but new ones will shine.

Fibres and textiles will also react under the beam of the black light although this area is less revealing to the appraiser. A vintage fabric may not glow like a modern chemical laced fabric but washing it in modern detergents can leave traces of glowing chemicals when placed under the light bringing inconclusive results of authenticity of age.

Original old cast iron does not glow but its modern counterpart and the new paints will react under the light as will new repairs on an old cast weld. The old tin toys of the turn of the century were made of cast but the tell tale sign will be when the modern paint in the reproduction glows.
So pocket yourself a black light and take it with you on your next adventure remembering that it can be revealing but is also only one of many tools of knowledge you will acquire over time as you grow passionate about collecting.

VIsit us online www.INKTIQUES.com

Tips on valuing antiques like an appraiser

Tue, 04 Aug 2009 09:28:27 GMT

Many antique appraisers are dedicated to a particular area of collecting as the vast knowledge and expertise to be a professional antique appraiser involves constant learning. Picking up some of their tips of appraisal will be a useful skill to value your antique finds like a pro.
Antique evaluation is not about memorizing book values of specific items. There is not a single global source for such information nor could there be. An item at auction in New York will not bring the same value in an antique store in Montana or at a tag sale in Vermont. The same analogy is true worldwide with values in Paris differing from those in Canada or Japan. Creating common ground with value and determining what the market will reasonably bear in any given economy are keys to appraisal.
One of the first things to determine is if the item has any maker markings possibly found in numerous places and an appraiser’s background will bring them experience in knowing where and what to be looking for. Jewellery, furniture, toys and silver are examples of collectibles marked in totally different methods. Knowing your area of interest will help you in discovering what to look for in maker marks as a missing or misread mark could be the difference of great dollars in evaluation.
The first thing in self-appraisal like a pro is to determine authenticity. Knowledge in your area of collecting will bring a familiarity to what you are looking for. Normal signs of aging, patinas, natural discolouration of metals over time and authentic markings in the correct place are key observations. If anything looks suspect then chances are high in this age of fakery that the item is a remake and further scrutiny is necessary.
To assess the condition of an antique an appraiser will consider a certain amount of wear and tear given the age, but will closely inspect all surfaces top and bottom, front and back, for signs of restoration works, repairs, refinishing, replacement parts and any serious damage. The more original and complete the item has remained over time often the greater the value.
Older does not necessarily mean higher value as the rarity will be a large part of evaluation. More common items originally produced in higher quantities will bring less value and again knowing how many or how few of a particular item are on the open market will be a consideration in the appraisal.
Repair or restoration in some items may increase a value if done professionally but in other areas of collecting it could greatly decrease the value. Knowing what if any restoration to increase value is a good thing will come with time and experience. An item with visible damage but repairable can often still bring a strong value.
Appraisers have many tools, some of which can be brought along in your pocket such as a black light used to test for age and repair in such items as glassware, porcelain, some metals, paints, ephemera and textiles as chemical laden more modern materials will react and glow in the light. A pocket stone tester can be used to determine carat weight and quality when jewellery collecting and a loupe eye magnifying glass will help when searching for marks or small print.
Take your time when considering an investment in antiques, gather as much information as the item will give you and then go back and research in order to make an informed purchase decision. With good pre-knowledge and experience in your area of collecting, a few pocket tools and a keen eye you can set out antique hunting armed with many of the skills of a professional appraiser.

To read more antique articles by Michelle Greysen:
http://www.helium.com/users/511377

Everything old is new again!

Wed, 22 Apr 2009 03:20:36 GMT

The world of blogging and the world of Antiques couldn’t be farther apart on the time-line of life! The contrast of old meets new is in actuality a perfect marriage of old knowledge using new tools to share our social history.

Between writing and antiques, I am quickly discovering that my two worlds have finally collided into a wonderful global serendipity. The web has long since been a valuable tool in a print media industry driving the strong shift on how and where the world is getting their information. Print will always have its place but the web has become as reachable as your local newsstand but in a wonderfully instant fashion we are all becoming far too accustomed to. The ‘library of the world’ has opened up many new on-line markets but is an invaluable tool to vast information.
The same is true in the antique world, and lovers of all things vintage, the web has brought a new platform to share collecting experience, visuals, market information and so much more. The antiques passion has been renewed and it is an exciting time for both collectors and dealers alike, many jumping in and discovering this new way to reach their market. Featuring your shop on a web site is a must, adding a shopping site and galleries creates an on-line browsing experience that makes one feel as if they are right in your shop. These new web simple tools are aiding dealers to fuel the newly revived trend to vintage and collecting which has become very hip again!

For vintage lovers and avid shoppers, although nothing replaces the thrill of the hunt and touching and feeling as you browse shop after shop the alternative is a good second best to a day of antique treasure hunting. Cozy jammies, fuzzy slippers, and a glass of crispy chardonnay or icy peaty-warm scotch, while on a late night web-search for all your favourite things can be right up there with a day-tripping city-escaping adventure on a sunny Sunday afternoon.

The growing go-green lifestyle we are all moving towards in many little and big ways is a big factor in the renewed thrill of vintage and funky finds. One of my dearest friends is a happily self-proclaimed recovering ‘consumer-slut’ and is a perfect poster-gal for the craze to haunt the shops and thrift stores over hitting a generic big-box shop or crowded mall any day. I happily take full-credit for the vintage influence of course, and have slowly converted her while gently prodding her to discover her ‘inner-thrift’ – and her recent thrilled call upon finding a new-old egg poacher is living proof! I knew she had it in her!

As a collector enjoy the techno-hunt for your treasures and let me know if you come across a great site or shop you want to share here.

As shop owners enjoy discovering ways to let technology open your shop doors to the world – and let me know how you use the web to enhance your clients’ shopping experience.

Michelle Greysen