Antiques n' Dynasties

Exhibition of Zadorozny's Paintings

2006-09-29T09:37:00.000-04:00

A exhibition of Zadorozny's paintings will be presented at the gallery 61 Grand Boulevard L'Île-Perrot corner of 3rd avenue in L'Île-Perrot.

The exhibition is called "Zadorozny fleuri" or "Floral Remembrance" the principal theme being his floral paintings.

From 15 - 21st of October. The opening is Sunday the 15 from 1pm to 4pm

Originals artworks from the 1950's to the 1990's will be on diplay.

The gallery is open Tuesday and Wenesday from 10am to 6pm

Thursday and Friday from 10 am to 7 pm and Saturday from 10am to 3 pm

For more details see the web link below
http://www.pseguin.com/evenement/evenements_ang.htm

Other Zadorozny's can be seen in our paintings & artworks section.

Our New location

2006-07-27T13:43:00.000-04:00

We are now open 7 days, only 20 minutes from downtown Montreal. in the Montreal Antique Center, Centre d'Antiquites de Montreal at 1850 Hymus, Dorval, Montreal.

We also buy individual items or estates of antique furniture, paintings & general antiques, etc.

Call us now at 514-831-0466 for an appointment and we will come to you.

Pine Furniture Care Guide

2005-09-17T20:19:00.000-04:00

First, some background on PINE WOOD. Pine is a naturally soft wood which continues to "breathe", based upon changes in the local (home, office, store, etc.) humidity and temperature. On the individual furniture piece there may be slight defects, such as knots,and shakes(small cracks in the surface of the wood). Some minor shrinkage may sometimes occur. These natural irregularities in pine enhance its overall uniqueness.

Do not place this product next to a radiator or in direct sunlight. Wood is a natural product and will expand if subjected to damp and will shrink and may crack if subjected to heat. This product is made of pine, which is a timber that is common for furniture, but susceptible to temperature changes. With pine furniture it is recommended that an even room temperature be maintained with no sudden temperature fluctuations, up or down.

Do not place HOT or CHILLED items directly on to the surface, use a place mat. Or marking will occur.

For general cleaning use a duster or damp cloth (ALMOST DRY) not wet.

Do not use soap and water or detergents of any kind on this product for cleaning. To maintain the characteristic finish on this furniture, do not use aerosol sprays or any polish containing Silicon. If unsure, try on an area that's not seen and look for reactions. There is a natural stain and finish on this furniture and it will react to most manmade products.

It will from time to time require the surface re-treating again to maintain its character. You can easily do this yourself using block wax (unperfumed), rubbing it over the whole item, following the manufacturers instruction. After treating your furniture, you may notice it is slightly more waxier than previously. This is normal because wood is a natural product that breathers and absorbs depending on room temperature.

The use of any cleaning materials other materials other than those recommended could damage the surface and will invalidate any claim.

From time to time it may be necessary to tighten fittings. This is normal and regular inspections should be carried out.

Do not place furniture onto a wet or damp floor as staining may occur to your floor.

Northwood Glass

2005-08-31T08:26:00.000-04:00

Just purchased some nice Northwood Glass pieces for those collectors out there.

Northwood, a Fenton rival, was founded in 1896 in Indiana, Pennsylvania by the Englishman Harry Northwood, the son of a prominent glassmaker. At the age of 20, he migrated to America in 1880. Prior to founding his own company in 1887, Northwood had worked at a number of well known glass manufacturers, apprenticing and thoroughly learning the trade.

He joined with the National Glass Company briefly only to subsequently form the Harry Northwood Glass Company in 1901 in Wheeling, West Virginia. Also in 1901, he purchased Hobbs, Brockunier and Company, where he first started out in 1880. For the next couple years, there were two Northwood plants.

More Northwood Glass info at......... http://www.antiquesndynasties.com/northwood_glass.htm

Paperweights

2005-08-23T11:40:00.000-04:00

People have been creating glass objects as long as history has been recorded, but the art of making glass paperweights began in the 18th century when the Venetians began forming thin cylinders of glass built up with layers of different shape and colours and called “canes”.

By the 1840’s letter-writing had become very popular and people needed something to control the piles of paper accumulating on their desks. Lead crystal was popular because of its weight. Then came the idea of decorating it using the Murano canes and suddenly a new fad in Christmas gifts was born. The large French crystalleries such as Baccarat, St Louis and Clichy, were quick to take advantage of it and produced increasingly complex and beautiful weights. Glassworkers were also often allowed to make their own with the left-overs at the end of day.

Like most fads this one didn’t last and by the 1860’s paperweight production had largely ceased and the techniques became a forgotten art. German, Bohemian and Chinese factories with their own particular styles, were almost all who were still making them. Thus was born “the antique weight” which is now so sought after.

It was not until the 1940’s the Paul Ysart in Scotland and Charles Kaziun in America began to uncover some of the forgotten techniques and the modern age of paperweights was born. Along with most of the former French makers, a series of factories such as Whitefriars, Perthshire, Caithness and Selkirk developed in Scotland to make millefiori and abstract weights in particular, while in the U.S.A. a number of brilliant individual artists have developed lamp-working techniques to a fine art.

A GLOSSARY OF TERMS

Canes: cylinders built up by layering with different colours and shapes of glass and then extruded into very thin sticks and then usually cut into small cross sections. They are basic to most forms of paperweight-making.

Glass types: Traditionally the glass for paperweights was lead crystal because of its weight and purity. More recently optical glass has been used. Dichroic glass gives special effects of colour shifts and shimmering patterns.

Paperweight techniques: There are a number of very distinctive and different techniques used. The basic ones are:

Millefiori or “a thousand flowers” is made of small canes mounted in cross section to form patterns which are then encased in glass.. They are the classic paperweight style.
Lamp or torchwork are miniature replicas of items such as bouquets of flowers, fruit, insects, snakes and lizards are pre-made and assembled using a blow torch and glass rods and are then encased in glass.
Sulphides consist of glass-encased ceramic items. The trick is in working with two substances with greatly differing temperature ranges.
Abstracts are made with a variety of techniques often employing frit or powered glass. They are perhaps the most common of all designs.
Crimp or Moulded weights use special tools to produce effect most notably in the Clichy and Millville roses.

Paperweight styles: Paperweights come in various shapes. The most common is the domed weight Others include conical weights and the more free-form pebble weight. Square shapes were rare until the recently introduced lazer cut weights. They also come in different sizes from the miniature to the magnum.

Specialised shapes include the piedouche/pedestal, basket and mushroom shapes. Facets or faces are often added afterwards to heighten the effect and frosted effects concentrate the viewer on a window. Encasement means the adding of extra layers which may then be delicately cut to create patterns.

Recent weights increasingly employ etching to add to the designs. Bubbles of air tend to occur in the process and in cheaper weights can be intrusive. However the use of controlled bubbles provides opportunity for special effects.

Paperweight Makers: The highest quality paperweights today mostly come from France, the United Kingdom, North America and New Zealand. The trend is away from the large factories to individual artists working from their own studios. This has meant the disappearance of some well-known names such as Perthshire. Among top artists currently producing weights some of the key names are John Deacons and Peter Holmes of Scotland, Americans such as Paul Stankard, Rick Ayotte, Debbie Taristano, Chris Buzzini, the Trabuccos, Bob Banford, Ken Rosenfeld, Drew Ebelhare and a large number of other very talented artists. In New Zealand there are Peter Raos, Peter Viesnik and Andrew Byers. The designers at the Caithness factory deserve special mention including such as Helen MacDonald and Alistair MacIntosh.

Things to Know about Collecting Paperweights: The “Big Names” understandably attract high prices for their work. Most make only a few pieces of a particular style and often the size of this limited edition and the number of the particular item is engraved on or near the bottom. The maker will identify the piece either by engraving his name or by including a special signature cane. However, there are many paperweights made in greater numbers which can bring great pleasure and also increase in value.

If you watch the sales on eBay you will quickly become aware of what is a suitable price for a particular item. There are occasional fakes or “seconds”on the market, but when you buy from a reputable seller they will normally tell you if there are any deficiencies. Some people specialize in a particular maker or style, but because these are real works of art it is what appeals to you that matters most.

Today’s paperweights are more exquisite than ever and demonstrate superbly the finest of glass working skills while giving endless artistic pleasure. They are also a compact collectible with proven potential for future increase in value.

Waxing Furniture

2005-08-15T09:22:00.000-04:00

Give your old wooden furniture a new lease of life with a traditional wax finish. It is effective and very easy to do.

If you have any antique or junkshop furniture that you want to restore to its original beauty, you may well want to use a traditional furniture finish, such as waxing. This technique was one of the favoured ways of finishing for hundreds of years before French polishing was introduced in the 19th century. Though it requires patience to build up layers of the finish, waxing is not difficult to do.

While a wax finish is more susceptible to heat marks than, for instance, an oil finish, it does give a glossier sheen Bear in mind that it should never be applied to bare wood, but only to that which has been sealed, and that the old finish must first be cleaned off with a solvent stripper.

There are several types of natural wax, made from animal, vegetable and mineral sources. Beeswax, obtained from the honeycomb, has a honey-like aroma, and is relatively soft and slightly tacky. It gives a soft, matt sheen. Carnuba wax comes from palm leaves, and smells like new-mown hay. Extremely hard and providing a high, long-lasting gloss, it is used in good-quality wax polishes, and may be added to beeswax to reduce tackiness and increase hardness and durability. Paraffin wax, made from petroleum and widely used in cheaper polishes, is relatively soft. Small amounts may also be used in high-quality waxes to soften them, making them easier to apply.

It is a good idea to use the best wax you can afford, and though a quality wax may be harder to apply, the shine will be deeper and will last much longer.

Traditional wax polish lends a subtle, soft lustrous sheen to almost any piece of old wooden furniture.

HOW TO WAX FURNITURE

Wax can be applied to furniture as a finish in itself or as a thin coating to another finish. Waxing both protects the wood, cushioning the surface against knocks and scratches, and buffs up to a soft attractive shine.

SEALING BARE WOOD

Sealing stripped or untreated bare wood before waxing is essential, otherwise the wax will sink into the grain and the wood will eventually become discoloured as dirt and grease is sucked into it through the wax.

CARE AFTER WAXING

A waxed finish on furniture needs a little more care and attention than modern synthetic finishes. Primarily, this means dusting the piece once a week to avoid a build-up on the slightly tacky surface that waxing leaves. Surfaces that get hard wear, like table-tops, should be waxed no more than once a month to avoid heavy and hard-to-remove wax deposits forming. Less used furniture may need rewaxing only three or four times a year. Remember, also, to protect wax from hot drinks and to mop up spills within 10 minutes.

TRICKS OF THE TRADE

1. If wood has been stripped, seal if first with a coat of French polish. Do not use a 'rubber', simply apply with a soft cloth. Alternatively, use teak oil. Wear rubber gloves. Allow to dry.

2. Once the sealed surface has dried, apply a coat of wax polish with a soft cloth. A little wax goes a long way, so apply if sparingly, rubbing hard to work if well in.

3. If the piece of furniture has carved detailing or moulding, apply the wax with an old toothbrush into these difficult areas. Use a circular scrubbing motion to work the wax in.

4. Remove excess wax by rubbing over the surface with a soft cloth. If is important that the wax is built up in very thin layers - too thick a layer is difficult to buff up to a good shine.

5. Brush along the grain over the entire surface with a shoe-brush. Rub vigorously as if you were polishing your shoes to work the wax deep into the grain and to remove any excess.

6. Wait for at least 10 minutes and then repeat the procedure so far to build up more layers if needed. When the final layer is hard and dry, buff to a shine with a yellow duster.

Paintings by Charles Tatossian Garo

2005-08-12T08:46:00.000-04:00

Recently aquired a few 20th cen. Impressionist paintings by Charles Tatossian Garo, a local Montreal artist who is still living and working in Montreal and is from a family of Impressionist artists. His father was was a painter and curator of the Alexandria Museum of Egypt, to his father's brother, the Armenian landscape painter Yeghiche Tatossian, who traveled to Paris and became a Post-Impressionist ( only to return to Armenia and bring the style home).

Also his son Armand Tatossian, born in Alexandria, Egypt in 1948, has been an artist since 1965, Professor of Art at Loyola College in Montreal and Concordia University.

Impressionism was a 19th century art movement, which began as a loose association of Paris-based artists who began publicly exhibiting their art in the 1860s. The name of the movement is derived from Claude Monet's Impression, Sunrise (Impression, soleil levant). Critic Louis Leroy inadvertently coined the term in a satiric review published in Le Charivari.

The influence of Impressionist thought spread beyond the art world, leading to Impressionist music and Impressionist literature.

Characteristic of impressionist painting are visible brushstrokes, light colors, open composition, emphasis on light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, and unusual visual angles.

Impressionism also describes art done in this style, but outside of the late 19th century time period.

Read more... http://www.antiquesndynasties.com/impressionists.htm

e-Commerce For Antique Shops

2005-08-12T07:28:00.000-04:00

We have just started using IMScart® which has a version designed to simplify the process of organizing, building and maintaining an electronic antique shop, eBusiness or multi-channel business model on the Web.

Perfect for also selling antiques online for private and corporate collectors, small galleries, dealers, artists, publishers, appraisers, small museums, and clubs.

With its powerful browser based storefront and administration you can manage your antiques eBusiness from any computer connected to the Internet! From your home, at work or on vacation.

Its easy to update, accept offers/bids, and with its combined newsletter module and affiliate program plus many other features should be a must for any antique shop thinking of going online or adding power to your current website.

Read more at - http://www.imscart.com/imscart_antiques.html

Overview of Art Glass in Canada

2005-08-11T16:57:00.000-04:00

Lorraine Glass Industries in Canada operated from 1962 to 1974 in Montreal by glassblowers who came from the glass center of Murano, Italy. They employed a work force of about 30 people producing up to 10,000 pieces of glassware monthly. The colored art glass items are very similar to Chalet glass and some still retain the Lorraine Glass foil label.

In Canada, Murano Glass Inc in Montreal operated from 1960 to 1962 and was originally Les Industries de Verre et Miroirs Limitee which had operated from 1958 to 1960.

In the 1940's through to the 1960's, Chalet Art glass combines the tradition and beauty of Venetian style art glass with modern day techniques. In 1960 the manufacturers stop the use of lead crystal which was where the beautiful, intense colour and strong weight and feel of the artwork comes from. Though some minor imperfections may exist, it is rare to find these pieces in such immaculate condition.

Chalet had factories in Ontario and Quebec, Canada, and traded from 1962 to 1980. They brought over Italian (Murano) craftsmen and made very high quality glass. It tends to be in the Murano style, but often with a gothic twist.

Each piece of vintage Chalet glass was individually blown and Chalet has been undervalued when compared to Murano. Their large pieces are very showy so are popular for decorating and they are a top quality glassware. Because of the weight of this glass due to the lead content, always take care when handling the items and never pick them up by the extended "arms" as they are actually quite brittle.

Alta Glass started in 1950 in Medicine Hat, Alberta, Canada with a glassblower from Czechoslovakia. They have a production of colored art glass figurines, vases and baskets.

Winter Season at the Antiques center again

2005-08-10T08:29:00.000-04:00

We are opening at the Antiques center again for the winter season again on Sunday's. We will occupy shop No: 21, open 9am - 5 pm.

More info and maps at http://www.antiquesndynasties.com/aboutus.htm

We look forward to seeing you. Please feel free to contact us if you have any questions or if we can be of services to you.

What is Carnival Glass?

2005-08-04T22:53:00.000-04:00

Carnival Glass is pressed glass that has been treated with metallic salts and then re-fired to give the glass an iridescent finish.

It is made by exposing the newly formed hot pressed glass to sprays, fumes and vapors from heated metallic oxides. These form a lustrous coating at the surface of the glass. It looks as if it has rainbows on it, like the coloured patterns sometimes seen when petrol floats on water; like the rainbow colours on the surface of a soap bubble. What you are actually seeing are light interference patterns produced by constantly shifting wavelengths.

The name "Carnival Glass" was not used originally by the manufacturers, who had all kinds of names for it like "Iridill" and "Rainbow Lustre".

When the market for carnival glass slumped in the twenties, second-quality carnival glass was used as prizes at carnivals and country fairs (throw the penny in the bowl and win it) and that’s where the name comes from.

Vintage carnival glass was produced from 1905 to 1920 and was sometimes called ‘poor man’s Tiffany’ as it had beautiful iridescence reminiscent of Tiffany art glass but was affordable to everyone.

It was first produced on a large scale by the newly-established Fenton Art Glass Company, of Williamstown, West Virginia, in 1908. Carnival Glass was also made by several US companies, including Fenton Art Glass, The Northwood Glass Company in Wheeling, West Virginia, Imperial Glass in Ohio; Westmoreland from Pennsylvania; Dugan(later Diamond) in Indiana, Pennsylvania; and Millersburg, in Ohio.

The rage for Carnival Glass in the US continued for ten years (1908 to about 1918), and the last of the original US producers, Dugan/Diamond Glass Company of Indiana, Pennsylvania, continued production until1931. But the market for this type of glass had already moved overseas, and US companies were exporting Carnival glass to Europe, Canada, Australia, and other countries during the 1920's. Carnival Glass was not, so far as we know, produced in the USA between 1931 and the 1950's.

It continued to be made in Europe through the 1920's and 1930's; it was made in Australia in the 1930's; and in South America (Argentina) in the 1930's. Very little was made anywhere in the 1930's and 1940's.

During the 1950's collectors became interested in Carnival Glass, so much so that it became economically worthwhile for glass manufacturers to start making it again, specifically for collectors.

In the 1960’s, some carnival was reproduced in new colors with marks to differentiate old from new: this Contemporary carnival is also collectible today.

Collecting Depression Glass

2005-08-03T08:05:00.000-04:00

Inexpensive Depression glass, made in America between the mid-1920s and 1940s, was often given away in cereal boxes and to customers at gas stations and department stores. It is now one of the most collected types of glass. Canadian Glassware from the late 1930's through the 1950's was being produced by two firms: the Dominion Glass Company and Pyrex Canada. Although production was small relative to the gigantic American firms south of the border, these glass companies created some simple yet lovely pressed glass tablewares.

During the Depression in the United States & Canada, between the nineteen twenties and the nineteen thirties, many families were hit hard. Jobs were extremely scarce, so the income that was lived upon was budgeted and closely guarded. Many items that once had been a regular convenience were during this depression considered a luxury.

There was, though, something that most families could afford to purchase even during this difficult time, and that was the glass that was manufactured by such companies as Anchor-Hocking and Jeanette. This glass became known as Depression glass, and it is much sought after, after more than sixty years from the end of the Depression.

Depression Glass was one of the first mass produced types of glassware. It was made in molds rather than blown, and you can usually see the parting lines if you look carefully. The molds wore out quickly, and the glass tended to pile up as the mold aged. This resulted in little ripples called straw marks, especially on the bottom of a piece. You won't see them in new glass. The easiest way to verify a piece is to look for little bubbles in the glass (they're what makes Depression Glass explode in the microwave).

Not all Depression Glass has them, but I have yet to see a reproduction that did. Cobalt blue used to be a real safe bet because the government restricted cobalt to medical uses, and the substitutes had a much darker hue than usual. No longer! Painted blue pieces are in every flea market from Main to Oregon with Shirley Temple bowls, glasses and pitchers, and sail boat, fish, and windmill cocktail sets being the most common.

As with any Depression Glass, look for mold marks, bubbles, and little imperfections and wear marks. The paint used in the thirties and forties didn't hold up as well as today's, so if it looks brand new, it probably is.

A premium price is often paid for original Depression glass. Many of the original pieces are very difficult, if not impossible, to find on the market, and as is true with so many other collectibles, when the availability of a product is low, the price is high. Serious scouting and hunting is done to search for pieces that may be the missing link to an entire set of the glassware. Flea markets, antique shops, newspaper classifieds, and even the internet are all good places to start when looking for a particular piece, to be enjoyed by itself or to complement an already-existing set.

Silver or Silver plate?

2005-07-29T09:38:00.000-04:00

First, look for the obvious. Turn the piece over and look for the letters "EP" or "EPNS" stamped into the metal. As you may have guessed, EP stands for electroplate. EPNS indicates that the object was electroplated with silver or nickel.

Sterling Silver
The commonest British standard of silver purity, dating back to the currency in use in England in the 14th century, comprising 92.5% pure silver and the balance of copper and other traces. Now widely accepted as an international standard.

Sheffield Plate
Some people mistakenly refer to all silver plate as Sheffield plate. Sheffield plate is a process that was invented in England about 250 years ago. Sheets of silver and sheets of copper were hammered together until the two became fused. The fused metal was shaped and formed into objects in the same way that silver objects were made. Electroplating, the same process used today, was developed in the middle of the last century.

A characteristic of Sheffield plate is its pleasing, warm color, which is the same as sterling silver. Electroplated objects, on the other hand, have a hard, shiny surface, and lack the warm color. The reason for this is that sterling silver is actually an alloy, consisting of silver and copper. The surface of an electroplated piece, on the other hand, is pure silver.

Britannia Metal
Silvery-white alloy similar to pewter but harder and stronger. Composed of approximately 92% tin, 6% antimony and 2% copper. Often used for making utensils, drinking vessels and decorative tableware. Victorian antiques can be found with Electroplated Britannia metal. (EPBM)

Murano glass, moments of glory

2005-07-27T08:39:00.000-04:00

Murano glass has know moments of glory over the centuries as well as moments of decline. However it has always been characterized by an obsessive search for quality. In fact Murano's motives in its pride has always been its aesthetic quality which has often contrasted with its competition and has frustrated attempts at imitation. Through out the history of art, the hollow blown glass of Murano has forged it's own path, it's strength being in its variation of type and class.

From its poly-chromatic glazes and the gold in the cobalt blue of the Barovier cup to the lightness and transparency of its glasses; from the delicateness of the lattice-work to the originality of Murano glass; from the mosaics to the counting beads; from the panes of glass to the mirrors, it all represents the original history of glass.

Murano was a commercial port as far back as the 7th Century, and by the 10th Century it had grown into a prosperous trading center with its own coins, police force, and commercial aristocracy. Then, in 1291, the Venetian Republic ordered glassmakers to move their foundries to Murano because the glassworks represented a fire danger in Venice, whose buildings were mostly wooden at the time.

Murano is a small group of islands lying on the edge of the Adriatic Sea in the lagoon of Venice, about 3,000 meters north of the larger group of islands comprising the city of Venice.

What made Murano's glassmakers so special? For one thing, they were the only people in Europe who knew how to make a mirror. They also developed or refined technologies such as crystalline glass, enameled glass (smalto), glass with threads of gold (aventurine), multicolored glass (millefiori), milk glass (lattimo), and imitation gemstones made of glass.

Their virtual monopoly on quality glass lasted for centuries, until glassmakers in Northern and Central Europe introduced new techniques and fashions around the same time that colonists were emigrating to the New World.

In the 100 years between 1860 and 1960 the glass producing firms located on Murano rose to world leadership in the production of decorative glass objects. One of the most remarkable aspects of this remarkable achievement is that it was the second time that Murano had attained that pinnacle--and the two occasions were separated by 500 years.

Cleaning Decorative Cut Glassware and Crystal

2005-07-25T10:48:00.000-04:00

Glass is made from silica and other materials. It is not affected by the weather nor by most chemicals. Most glassware is easily broken by blows; sometimes hitting it hard only damages the glass invisibly so that later it shatters from just a light impact. Glass is blown or molded into many shapes for decorative items, beverage glasses and other eating and serving dishes.

Crystal is made from the same basic material as glass but lead is added to fine crystal which adds sparkle and strength.

Glass flower vases, cruets, or carafes used to hold water, wine, oil or other liquids may develop stains in the bottom when allowed to set for a long time. Normal washing with soap and water may not get off all the stain. To remove these stains, try the following steps:

Pour vinegar (brown or white) into glass so as to be above the stain mark.
Allow to stand 30 minutes to overnight, depending on intensity of the stain.
Before emptying vinegar, add about 1/2 teaspoon dry uncooked rice, or 6-10 dry beans. Shake glass rapidly so hard grains can rub off loosened stain with a scouring action.
Pour contents out. Rinse with water. Repeat if necessary.
If not all the stain is removed, pour ammonia into the glass to be above stain mark and allow to stand over night. Add rice or beans and shake. Repeat if necessary.

Commercial products such as 'Lime Away' or 'CLR' can remove some stains. Read labels and follow directions exactly. You may need to add grains of rice or beans and shake to get scouring action with these products also. If you have crystal vases or carafes, do not leave flowers or food in them any longer than necessary, since chemical changes can occur which permanently stain crystal.

Washing Glassware Decorated with Gold or Silver

Some crystal or fine glassware has a gilt design or edge on the rim of glass or as a decorative design or a patterned glass dish. Never soak such items in solutions containing ammonia, washing soda or heavy duty detergents. Never use abrasive cleaning powders. Use regular mild, hand dish washing detergent and a soft cloth. A precaution would be to rinse such glassware in clear water while food residue is still fresh or soft.

Researching Antique Values

2005-07-20T07:54:00.000-04:00

What's it worth? Where can I find the value of my antique?

These are all too familiar questions. Unfortunately these questions are not easy to answer. Most people think anything old is valuable. This is not entirely correct.

Many things effect antiques and collectibles values. Here's a short list of some items that influence prices.

In order for antiques and collectibles to have value, there must be a demand. People have to want the item in order for it to have value.
A secondary consideration with demand is liquidity. Some antiques are extremely difficult to sell. They are hard to place values on, or it is difficult to find buyers. The harder it is to sell an item, the lower the value will be.
In addition to demand, scarcity plays a role. The more people chasing a small number of items, the higher the value.
A big part of the value of any antique or collectible is condition. For example a common but perfect "10" baseball card will bring three to five times (or more) the value of the same card with wear or poor print registration. On the other hand, some collectibles like coins, stamps, and toys will bring higher prices for factory mistakes. Factory errors can increase the value of collectibles.
Location also effects antique values. Prices in more densely populated areas are generally higher than prices in the country. Some of this price difference is due to there being fewer prospects, and some is due to attitude differences.

All the items above effect the value of any antique or collectible. Researching price guides and antique markets are other options. Not great options because unless you actually see an item sell, you cannot be sure it is worth the asking price.

You see, antique values are subjective. The only way to get really good at determining values is to immerse yourself in antiques and collectibles.

Antique Valuations Online

2005-07-19T08:00:00.000-04:00

We are now offering a new service of antique purchasing from single items up to and including estate disposal in Montreal and surrounding areas.

If you require online valuations of antiques or fine art, we are happy to do so and we can also provide an appropriate written valuation. We only charge $25.00 US, which includes the amount of time it takes to inspect a piece (from photos), do research and prepare a written document, if it's needed for estate purposes.

The valuations do take time and in some cases it can run to hours of research plus we still have to write your valuation and using our two finger typing.....

More info at - www.antiquesndynasties.com/antique_valuations.htm

Authenticity of Glass

2005-07-18T09:51:00.000-04:00

As a follow up to my previous article on glass at http://antiquesndynasties.blogspot.com/2005/07/that-glass-is-it-new-or-is-it-old.html

I should add that 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. This is even true of many depression era repro's. Dimensions are slightly different to the original.

You need to handle a lot of glass from many periods and manufacturers plus ask questions of many reputable dealers so that in time, "the force will be with you."

That Glass. Is it new or is it old?

2005-07-14T09:57:00.000-04:00

A question that always needs to be asked when looking at items in stores, shops and online.

The only way we can avoid being taken by these "reproductions" is to inform ourselves with knowledge on who is making them, what they look like and where to find them.

There are thousands of reproductions being imported from other countries daily. Most arrive through your local household auctions. Some are poor examples of the real thing, however many are pretty good.

Don't misunderstand me. There is nothing wrong with a reproduction as long as it is being sold as such.

Here is a link for more information - www.antiquesndynasties.com/depression_glass_reproductions.htm

I would suggest you spend a little time viewing other websites for known reproductions. It will help you the next time you come across one.

If you know of a good online source for reproduction information, have book recommendations, or know of new items on the market, please email us at webmaster@antiquesndynasties.com

John Speed (1552-1629) Antique maps

2005-07-13T09:01:00.000-04:00

We have a number of John Speed (1552-1629) small nicely framed prints (coloured) we recent aquired that are for sale. Please contact us for more information.

John Speed was one of the most famous British mapmakers of the seventeenth century, and indeed perhaps the most popular of all with map collectors around the world. Historically he is noted for placing England into the mainstream of map publishing which had been dominated by the Dutch since the late sixteenth century. Speed began by issuing maps of Great Britain as early as 1611 in his famous Theatre of the Empire of Great Britaine, that contained maps of the entire British Isles, their kingdoms, and the counties of those kingdoms.

More info on John Speed - http://www.antiquesndynasties.com/john_speed_antique_maps.htm

The Importance of Cleaning Wood Furniture

2005-07-12T09:14:00.000-04:00

Most people just keep putting polish on top of polish without ever cleaning the wood. Few people realize how important it is to clean your wood furniture regularly. Just like any expensive item you own, your wood furniture collects dirt, grease, dust and other foreign material that are present in your home. Any build up of these particles can damage your furniture and should be removed before polishing. That is why we include the Wood Cleaner in our Wood Care Kit. Without properly cleaning your wood furniture at least every other time you polish will evidentially cause a major build up of foreign matter and polish. Yes, even the polish will build up and distort the finish without regular cleaning.

Wood Care Tips

Dust weekly using a dampened dust free cloth. A damp cloth will prevent scratches
Clean your furniture every other month
Polish your furniture every month
Always use coasters to protect from hot and cold drinks
Keep your furniture away from direct sunlight, it will cause serious damage to the color and finish
Keep wood furniture away for heaters and air-conditioning to prevent drying out the wood
Avoid putting newspapers and magazines directly on wood surfaces, ink can blend into the wood
Never put plastic or rubber directly on your wood. The chemicals in them can damage the finish
Don’t slide or anything across the finish, it could scratch the finish
Moisture is tough on wood furniture. Avoid letting plants touch the surface of your furniture.
Use felt pads to protect table top accessories from scratching

Answers to Common Problems

Burns: Use 000 or finer high grade steel wool to rub the burned area with the grain. Use a light touch until the burnt wood is smooth. Apply furniture oil or polish.

Water Rings: Mix equal parts of white vinegar and cooking oil. Rub water rings with the grain.

Heat Marks: Use mayonnaise to coat the heat mark area. Let stand for one hour, then wipe clean. Polish when finish.

Candle Wax: Scrape off the candle wax with a credit card. Take off thin layers of wax until you get almost to the finish. Remove the rest with wood cleaner, and then apply polish.

Dents: Wipe off the dented area with warm water. Place a water soaked cloth compress (a folded wash cloth) over the dented area and let sit for 30 minutes. Next, place a warm iron (on a low setting) over the cloth for short intervals until the dent is gone. Apply polish when finished.

I hope these tips will help you maintain the beauty and quality of your wood furniture.

Caring for your Silver

2005-07-11T14:34:00.000-04:00

Set your table daily with silver flatware, it will last forever! Frequent use actually reduces tarnish and develops a glow called patina, which enhances its beauty. Remember to rotate the pieces you use so the patina develops evenly across different pieces of your set.
Silverware should be rinsed immediately after use, especially after contact with any acidic or corrosive foods such as salt, mayonnaise or eggs. Don't soak silverware in water overnight. Extended immersion can damage the metal. Always wash pieces separately to avoid bumping and scratching.
Wash silverware in hot, sudsy water, then rinse in clear, hot water. Clean crevices with a worn toothbrush or fine natural-bristle brush. To avoid spotting, immediately dry the pieces with a chamois or soft cotton cloth.
Although silverware is considered dishwasher safe, hot temperatures can loosen hollow handles or dissolve a decorative, oxidized pattern. Keep detergent to a minimum and remove silverware from the dishwasher before the drying cycle. Never put stainless steel and silverware in the same basket; direct contact can permanently damage silver.
Polish silverware with a soft cotton or flannel cloth and a brand name liquid or paste silver polish to remove tarnish. Dip polishes are not suggested on intricately detailed pieces; it will remove an oxidized pattern as well as tarnish. Rub each piece lengthwise; never polish clockwise or with a circular motion as this may cause scratches.
If you use your silverware regularly, expect to polish it just once or twice a year. Avoid wrapping silverware in plastic, aluminum foil or newspaper, or binding flatware with rubber bands, which can result in damage.
Keep all silverware away from dampness and direct sunlight. Even a light bulb that shines directly on silverware will cause it to tarnish faster than it will in a dark, dry place.
Store silverware in an air tight silver chest or protective bags made of tarnish proof cloth. To prevent scratching, do not store silverware loose in drawers. Do not use a drawer that is opened frequently--exposure to air promotes tarnishing.
Avoid storing silverware directly on wood surfaces (especially oak), as wood often contains acids that can mar the finish. Hint: Create your own silver drawer with a length of tarnish proof fabric. Line any drawer with the cloth, allowing plenty of overhang. Place a cutlery rack inside the drawer. Line the dividers with silver cloth, lay silverware in place, then fold the extra length of cloth over the top.
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Care & Cleaning of Crystal also Fine Glass

2005-07-10T20:01:00.000-04:00

We sell many fine pieces of crystal, art glass, depression & carnival glass. Many of our customers have asked how best to wash or care for it. So here goes...

Wash one piece of crystal at a time in warm soapy water, using mild soap or hand washing liquid. The interiors of decanters and vases can be cleaned by pouring in rice with warm soapy water and swirling around gently. Rinse with clean warm water and dry immediately. Certain kinds of water leave a lime deposit. Vinegar applied with a cloth helps remove this mark.

When clean and dry, polish with a non-fluffy and lint free cloth to keep your crystal at its sparkling best. Independent research associations have made tests which show repeated washing in very hot water with detergents can damage the surface polish of the finest crystal.

I strongly recommend that you do not use a dish washing machine for your fine crystal.

The finely made rim is the most fragile part of a crystal glass. Never place upside down on a draining board or when storing. The careless knocking together of the rims can cause cracks. Do not hold the glass by the stem or the foot when washing or drying the bowl as the twisting motion thus produced will create undue pressure.

As well...Don't drop it!!

Blenko Glass Company

2005-07-08T09:32:00.000-04:00

A quick note to A. S. on your Blenko Glass piece and request for more info.

Blenko Glass Company was founded in 1893 by William J. Blenko (pictured at right) in Kokomo, Indiana. He was born in 1853 in London's East End, on 36 Wharf Road. He worked in London glass houses as early as 13 years and eagerly learned about glass formulation. In 1893 he came to America with the intention of starting the first glasshouse that could supply mouth blown (Antique) sheet glass for stained glass windows.

At this time, all antique glass was produced in Europe (France, England, Germany), which is still the case today. He arrived in Kokomo, Indiana and set up a small shop. In time, he hired and trained other glass workers. It was here that he became friends with Eugene Debs, founder of the American Railway Union, forerunner of the American Socialist Party. This friendship continued until Debs' death in 1924 and beyond, when William Blenko directed that his ashes be spread on Debs grave in 1933. William remained in Kokomo until 1903, when economics in America forced the factory to close. He also became aware of the prejudice against American-made glass. Since the studios were owned by former Europeans, they had a natural bias in favor of European glass. William Blenko faced this prejudice until he died. Later, in 1909 he again started a factory in Point Marion, Pennsylvania, and later Clarksburg, WV, both of these ventures failed.

A letter indicates he was working in Bellaire, Ohio in 1919 at an unknown glass factory for $40.00 a week. He was offered a job at Tiffany's in New York for $50.00 a week and he apparently took this job. Finally in 1921, he decided to move to Milton, WV, because of the natural gas price; he was now 67 years old, an age when most people retire. Working by himself, he blew the glass cylinders, flattened them into sheets and then went on the road in his Model T car to sell them.

The original name of the company was Eureka Glass Company. It was called this because William J. Blenko spent years trying to find a ruby red sheet glass that would not change colors when painted and fired. When he developed this color, he threw his arms in the air, and said "Eureka, I've found it!" Hence, the name Eureka. In 1923, his 26-year-old son William H. Blenko Sr. , with wife Marion and two-year-old son William Jr. joined him in Milton. This is when the factory really took off.

see more at http://www.blenkoglass.com/history.html

The History of Glass Making

2005-07-07T08:48:00.000-04:00

Had a few recent requests for information on glass and how and when it was first made.

No one knows exactly when or where glass was first made. Glass appears to have been produced as far back as the second millennium BC by the Egyptians & perhaps the Phoenicians. Yet evidently it originated in Mesopotamia, where pieces of well made glass have been found, believed to date from the third millennium BC.Glass was a lot less common back then than it is today. It was very precious, and in the Bible glass has been compared to gold. (Job 28:17)

The art of glass making eventually reached Egypt. The Egyptians used a method called core-forming. A shaped core was made of clay and dung, then molten glass was wrapped around it and shaped by rolling it on a smooth surface.It was very much later, around the end of the 1st century BC, that a new method, glass blowing would revolutionize glass production. This art was probably discovered along the Eastern Mediterranean coast, probably is Syria. By blowing through a hollow tube, the experienced glassblower can quickly produce intricate and symmetrical shapes out of the "gather" of molten glass at the end of his tube (rod). Alternatively, he can blow the molten glass into a mould.

The glassblowing innovation, along with the backing of the powerful Roman Empire, made glass products more accessible to the common people. As the size of the Roman Empire increased, the art of glass making spread spread to many countries.

See more at http://www.antiquesndynasties.com/lead_crystal.htm