This highly collectible English astronomical regulator clock will be among the than 500 rare and vintage clocks from a single-owner collection will cross the block without reserve in the Antique Discovery Clock Auction, scheduled for Saturday, Aug. 27.

PITTSFIELD, Mass. – The first half of 2011 was kind to Fontaine’s Auction Gallery, and now the firm plans to finish the year strong with a series of four big auctions slated for August through November, including an Antique Discovery Clock Auction, an Exceptional Antique Auction, an Unreserved Estate Auction and finally, an Exceptional Cataloged Antique Auction.

All of the sales will be conducted at Fontaine’s modern gallery facility, at 1485 West Housatonic Street in Pittsfield, located in western Massachusetts.

The first event of the second half of the year will be an Antique Discovery Clock Auction, scheduled for Saturday, Aug. 27. More than 500 rare and vintage clocks from a single-owner collection will cross the block without reserve (everything sells, regardless of price). Sold will be American large wall clocks and case clocks, grandfather clocks and examples from England, France and Germany.

Also offered will be Vienna regulators, porcelain and novelty clocks, master and slave clocks, ships’ clocks, schoolhouse and wooden works clocks, skeleton clocks, calendar clocks, Howard clocks, pendulums, weights, watchmakers’ benches and multi-drawer cabinets, watch and clock ephemera and advertising signs. Previews will be held Friday, Aug. 26 (10-5) and Saturday, Aug. 27 (8-11 a.m.). Buyers must be present in the gallery to bid at this auction.

Then, on Saturday, Sept. 10, Fontaine’s will conduct a two-session Exceptional Antique Auction (previews on Friday and Saturday), aptly named because it will feature 500 lots of antique furniture, vintage clocks and lamps, porcelains, music boxes, a large Rogers Group collection, silver, jewelry, arts and crafts, paintings, firearms and militaria. Consignments are still being accepted for this sale.

The third event will be an Unreserved Estate Auction on Saturday, Oct. 15, beginning. More than 400 lots of period antiques and decorative accessories comprising the contents of two major estates—one from Short Hills, N.J., and the other the original homestead of the Brewer-Young family from Longmeadow, Mass. Previews will be held Friday and Saturday.

Finally, an Exceptional Cataloged Antique Auction will be staged on Saturday, Nov. 19 (previews on Friday, Nov. 18, and Saturday, Nov. 19). Set to change hands will be more than 450 lots of exceptional antique furniture, lighting by Tiffany, Handel, Pairpoint and others, paintings, silver, clocks, art glass and cameo glass, bronzes, jewelry, pottery and porcelains. Consignments are still being accepted for this auction.

“We are accepting quality consignments for all the auctions in our fall series, from one piece to an entire estate or collection,” said John Fontaine of Fontaine’s Auction Gallery. “Either way, we have the service and expertise to help you. We can provide free estimates and arrange pick-up and delivery nationwide. Our rates are the best in the industry and consignments are fully insured.”

Fontaine’s is actively seeking merchandise in the following categories, to include Early American, Victorian, Empire, custom mahogany and figural; carved furniture; lighting by Tiffany, Duffner & Kimberly, Handel, Pairpoint, Wilkinson, Reviere, Suess and other makers.

The firm is also looking for quality music boxes, clocks and watches, art glass and cameo glass, bronze and marble statuary, silver, Russian items, jewelry, paintings, porcelains, coins, Arts & Crafts furniture and accessories, art pottery, Oriental rugs, Asian items, toys, banks, military items, firearms and more. Prospective consignors can call the gallery at 413.448.8922, or send digital photos of their items by visiting the Fontaine’s Auction Gallery website or by e-mailing them to info [at] fontaineauction [dot] com.

The first half of 2011 was successful for Fontaine’s Auction Gallery. For example, at the firm’s Exceptional Cataloged Antique Auction held May 21—featuring a monumental circa-1890 R.J. Horner 12-piece dining set that soared to $100,300 in an auction—grossed a little more than $1.4 million.

Other highlights from the auction included a seven-piece John H. Belter laminated rosewood Henry Clay parlor set ($25,960), a Tiffany Studios Greek key table lamp with 18-inch serpentine leaded shade ($26,550); a large Chelsea ship’s bell mantle clock with 12-inch dial ($15,930); and a monumental bronze work by Arthur Waagen depicting a triumphant Kabyle hunter ($12,980).

For more information about these upcoming auctions, or to consign an item, estate or collection, call 413.448.8922, e-mail info [at] fontaineauction [dot] com or visit the Fontaine’s Auction Gallery website.

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WorthPoint—Discover Your Hidden Wealth

A certain misapprehension has always surrounded the subject of silver from Sheffield. Popular belief holds that it is the same as Sheffield plate. This belief is justified up to a point, for there certainly was an interlocking of interests between silver from Sheffield and Sheffield plate, as the story of Sheffield candlesticks shows. But silver hallmarked with the Sheffield town mark of a crown is of Sterling standard (see photos), while the “plate” is just that: a thin layer of silver fused onto copper. Sheffield silver marks examples of all types can also be found in our www.Marks4Antiques.com on the Internet or other references, such as specialized books.

The story of candlesticks, which were hand-raised from sheet metal until casting became universal during the late-17th century, is one of continuing simplification. The change in method of manufacture was one aspect of simplification of process. The base (made in one piece) and the columnar stem and candleholder (made in two) were easy to cast. The whole was skillfully joined together, just as the separate parts of the machine-aided candlesticks were joined when that method was perfected later in Sheffield.

There was nothing really new about casting. But the use of the process made things far easier, so much so that candlesticks dating from about the year 1700 survive in large numbers and evolving styles and in good heavy quality that needed no further strengthening.

Evolution, however, did not confine itself to styles. During that century, inventions to reduce both cost and labor followed one another quickly in England’s Midlands, easing the supply and demand problem created by a newly affluent society that was not yet really rich. Sheffield plating, a process discovered in 1742, was a boon in more ways than one. It not only simulated silver at a fraction of the cost, but it led to the invention of other processes that were also useful in producing the same type of articles in silver at about a third of the price of the old method. Sheffield silver, in fact, owned a great deal to the fused plate industry since it depended on the same processes. In Sheffield, the two trades worked closely together. Although all Sheffield candlesticks were by no means so insubstantial, most were. This explains why most Sheffield candlesticks had to be loaded with a hard or weighty substance, usually marked as “weighted”. As hollowware they could not have stood alone. This is also why they were so easily damaged or dented.

New Steel Dies

Candlesticks were being made in Sheffield before the perfection of Die Stamping in the early 1760s. But with the new steel dies, the necessity for hand finishing ceased. The cutting of a die, in reverse, was a skilled job undertaken only by specialists, and many candlesticks required a dozen or more dies, all cut separately. Nevertheless, the effect was most impressive, for not only the shape but every form of decoration stood out clearly on the metal, as if embossed, chased or otherwise worked by hand by a master. This helped in enhancing decorative features and allowed for an increased detail on the finished candlestick. Mass production is hardly the word that would spring to mind, yet once these parts had been soldered together, a strengthening rod inserted, and the hollow filled with pitch or another hardener, the object was complete. This was a much quicker and more efficient method than before.

Before Sheffield was granted its own Assay Office in 1773, silver from that city was sent to London for marking, where the smart trader snapped up candlesticks to resell as London work at London prices, even though those were always cast. This was so lucrative a practice that London silversmiths continued to overstrike Sheffield makers marks with their own after 1773 and until about 1780. A well-documented example is that of John Carter, known for his fine “London” candlesticks, but we now know that he resorted to this type of trade frequently.

From the start, certain Sheffield firms specialized in candlesticks, including John Winter & Co., who made many graceful sets. This did not prevent other firms from producing very fine sticks in addition to other objects. The whole question of makers, however, is extremely involved. Whereas some partners were concerned solely with sales, many “names” belong to several companies. Confusion for today’s collectors is the natural result. The basic construction of candlesticks was also affected. There were firms who, while assembling no sticks themselves, specialized in the production of parts for sale to others, so that the same base, or stem, or nozzle, stamped out by the thousands, might be used by many small makers, each stamping his own punch.

Again, many of Sheffield’s registered silversmiths were Silver platers first and foremost, and it was in the plating industry that the best designers and die cutters were mostly employed. With dies costing up to $150, an extraordinary amount of money for that time, the best use had to be made of them. With silver doubling the possibilities, it became expedient to form a silver company with a silversmith in partnership. Some of the top makers also belonged to several firms of the same standing, so their names appear in many combinations. This naturally also affected the use of dies whose circulation was not confined to one firm and its subsidiaries. Therefore, many of the same dies might be used by several firms and for both Sheffield plate and silver.

Diversity of Designs

If it were not for the endless possibilities for varying available parts, this would lead to a terrible sameness among Sheffield candlesticks. But when the number of die cutters, firms, designs and parts are considered, this practice still allowed for a huge number of variations of designs and styles to be made. It is true that no one maker’s work was distinctively his. Yet it is possible to fail to recognize the similarity instantly from a row of sticks all set on a base from the same die, so different is the effect.

Styles revived every known form, from Gothic through Rococo to Greek Classical motifs. Nevertheless, it was in the Adam period (circa 1760s–1790s) that Sheffield silversmiths excelled, showing their full powers of original design, aided by the suitability of thin-rolled silver to a style that was so essentially graceful. Other styles could come and go, but Adam candlesticks never ceased to be popular to this day. It was largely these that Victorians and others, using old Sheffield dies, produced as genuine period pieces.

Some pieces are dated, such as many shown in the accompanying photos. Other famous Sheffield silversmiths include John Watson, who produced mostly Rococo styled pieces circa 1816 and stamped accordingly. Others are not. Candlesticks, tapersticks and candelabra, which often had plated branches to save expense, were mostly made in the Adam style from an immense range of designs. Decoration on these, whatever their shape, was elegant to say the least. As heavier, more ornate forms came into fashion, designers adapted as needed. What Sheffield candlesticks lacked in weight of silver was well compensated for by the designers.

Chambersticks, which lost their purpose of lighting people’s way to bed during the 19th century, never attracted these designers to the same degree. Very few attempted more than the gadrooned edge and leaf-capped handle, although a few followed the Adam Neoclassical line. Telescopic candlesticks, however, invented in Sheffield and exclusively made there, are another matter. These were of a utilitarian nature and were intended to throw a constant light, height being adjusted as the candle shortened, so avoiding strain on the eyes when reading, sewing, and so forth. Consequently they were seldom made in silver as table sticks were, and still more rarely in a set of four. Most were of Sheffield plate, designed to extend to varying heights. Some were very small, round and plain, and few are decorated beyond rayed flutes, gadrooned or beaded edges.

These were first made in 1790, but in 1798 when Samuel Roberts patented his machine to produce candlesticks that moved effortlessly to any desired position, they reached their zenith and were made for the next 25 years. Telescopic candelabra were simply an extension of these. According to old invoices, candelabra have a history as old as candlesticks, but it was not until Sheffield makers reduced their costs that they became more common. Even then they were more frequently made in plate, almost universally so in the 19th century with the exception of some notable examples by Storr and a few other makers.

In an 1809 example by John Watson, the candleholder and waxpan were stamped out in one piece, often over 20 inches high, and had remarkable decorative detail. Fenton, Allanson & Co. went even further. The weight of the silver branches on one of their pairs alone came to 136 ounces. Fenton, along with Richard Creswick, was one of the original names in Sheffield.

But such pieces are rare and because of this they are often faked or made up, sometimes using the holder of an old stick, particularly the chamber type, which usually displays the silver marks. The one safeguard against this is correct attribution of these silver markings, with every single detachable part at least partly marked at the same time. This, of course, goes for all sticks. One form of faking is to make a cast from an old pair. Old dies may lose a little sharpness with continued use and age and so the fake mold will have lost the sharpness of the marks, appearing very unclear. But, as they say, for Sheffield makers, “copying is the ultimate form of flattery.”

WorthPoint—Get the Most From Your Art, .Antiques and Collectibles

Archibald Knox Tudric muffin dish

By Sherri Hall-Wilcox

The piece pictured above is a pewter muffin dish (valued, designed by Archibald Knox (British, 1864-1933) for Liberty & Co., circa 1901-05 as part of its “Tudric” line. Like most pieces made during this period, it is in the Art Nouveau style. Knox was born in Cronkbourne Village, Tromode, Isle of Man, on April 9th, 1864.

Knox took a winding path to end up as a designer whose pieces are now sought by collectors.

Knox’s early education took place at Douglas Grammar School and Douglas School of Art between 1878 and 1883. It appears it was here that his first interest in Celtic design took root, and later became his signature design form. Knox taught at the school from 1884-1888. In 1897, Knox moved on to become a teacher at the Redhill School of Art, whose headmaster, A.J. Collister, was a close friend. In 1899 Knox would follow Collister to the Kingston School of Art and later to the Wimbledon Art School in 1906.

It was during this period during the turn of the 19th century that he became involved with the studios of Christopher Dresser, famous for silverware, ceramics and glass and Liberty & Co. of London. Liberty & Co. was one of the leading producers of Art Nouveau decorative arts items, and it while he was here when Knox began designing pieces for which he is most famous: creating items for their Cymric line of silver (1899) and their “Tudric” line of pewter (1902). It is unknown just how many pieces he designed for Liberty, as much of the company’s records were destroyed by fire during World War II.

In 1912 Knox left Britain, seeking employment in the United States, returning to the Isle of Man in 1913, just before the outbreak of World War One. During the war (1914-1918), he worked as a censor in an alien detention camp on the Isle of Man, returning to teaching after the war at a number of schools on the island. He died from sudden heart failure on Feb. 22, 1933 and was buried in Braddan Cemetery.

Patina is a natural surface tint which occurs on many objects of age. Most collectors consider patina desirable, and will pay more for an object with authentic patina.

Ivory items naturally turn slight yellow [Image #1 - Vintage whale teeth] to golden yellow [Image #2 - Antique whale tooth] through exposure to sunlight, handling (absorption of skin oil), room smoke [Image #3 - Tabua], etc. Mammoth & Mastodon tusk sections have a dark brown patina from being buried in the ground for thousands of years. Authentic patina can penetrate quite deeply into the ivory [Image #4 - Mammoth scrimshaw].

Copper, silver, bronze, tin, and other soft metal items can also gain patina with age. This is usually a type of surface oxidation caused by human handling [Image #5 - coins] & [Image #6 - silver service], exposure to air [Image #7 - outdoor bronze statue] & [Image #8 - outdoor copper statue], or submerged in the sea [Image #9 - bronze cannon].

Iron & steel can also display a decorative dark patina color from being buried in the ground [Image #10 -cannon ball]. Usually though, iron corrosion is the undesirable brown/orange rust that continues to eat-away, and may eventually destroy that item [Image #11 - rusty chain].

Stone items can also acquire patina through burial [Image #12 - arrowhead], and atmospheric exposure [Image #13 - Stonehenge].

Patina on glass items is a special case, as the amount & color can be directly related to the glass formula, length of burial, etc. [Image #18 - glass bottle]. Worthologist Bill Lindsey has written an inclusive WorthPoint article about this subject, entitled Patination and Historic Bottles.

ALL of these types of patina can be faked through the use of dyes & washes [Image #14 - faux patina tooth], or through intentional exposure of metal items in slightly acidic solutions [Image #15 - modern weather vane]. Sometimes this is obvious, and sometimes it takes a well-trained eye to reveal the forged age. For this reason, many collectors like to view items with patina intact. Patina can be a measure of age, as well as an indicator of authenticity, or NOT.

Grime, dirt, transferred oxidation, etc., are NOT patina, and are therefore not desirable. I have carefully cleaned many antique scrimshawed whale teeth, using Q-tips and denatured alcohol, to remove grime from a hundred years of handling. Natural patina is NOT effected, and the scrimshawed image can become more obvious against the naturally patina-colored background. Care must be taken to not disturb the antique ink used to accent the scribed design [Image #16 - sea turtle shell].

I have also used a clean cotton cloth with a touch of “Silvo” paste, to slightly surface-clean antique silver jewelry to reveal the natural color of the metal, and to enhance the engraved design. The residue is then buffed-off with another clean cloth. Immersion into a liquid cleaning solution will remove all of the oxidation, even in the engraving. This may be desirable for contemporary silverware & silver service in use, but usually not desirable for show pieces, like antique silver service, candlesticks, jewelry, picture frames, etc. [Image #17 - antique Sterling silver].

Remember, it is easy to clean “just a bit more”, but impossible to “undo” removed patina.

Mexico’s tradition of magnificent silverwork dates as far back as the 1530s. Mexico has abundant deposits of precious metals, so it was natural that a thriving jewelry and hollowware market would evolve there. But establishing authenticity, purity and age – especially for vintage and antique pieces – can be challenging.

Silver hallmarks stamped on a piece are supposed to signify a certain minimum purity – i.e. .925 and higher – and indicate that taxes and duties had been paid on the materials. Precious metals are linked to the currency reserves in many nations, so it’s imperative that nations keep a running inventory of available resources and an accounting of what’s been used. This process has been followed in Great Britain and France since the 14th century, and hallmarks can be used to accurately date silver pieces from there. However, these standards have not been strictly enforced in Mexico – or in the U.S. for that matter.

Since the 16th Century, this duty mark has been the image of the Mexican eagle. It often was referred to as “El Quinto Real,” or the one-fifth of the value of the silver used in the piece that was paid as taxes.

During the first half of the 20th century, the eagle disappeared. Mexican silver was generically marked with a SILVER or STERLING stamp.

The use of a newly-designed Mexican Eagle silver mark with outstretched wings appeared in 1948. It was meant to strictly represent a minimum of .925 silver content, but this was not always enforced. It also was used in association with specific numbers to indicate a manufacturer. There are numerous lists available online and in reference books to help you trace specific makers.

From 1955-80, the shape of the Mexican Eagle silver mark became more abstract, almost triangular. (See photo.) These marks were also assigned a specific number corresponding to a maker or the location.

Since 1980, the official notation is a registration code. The first letter denotes the location, the second denotes the workshop and the number denotes the actual silversmith. For example, MT-01 would indicate Mexico City, Tane (a famous workshop) and the person who registered it. Many studios also stamp a separate trademark or logo to help establish authenticity.

Alex and Elizabeth are WorthPoint Worthologists.

In general, the term Sterling Silver is meant to distinguish items that are composed of mostly solid silver as opposed to Silver-Plated that have only a thin surface layer of silver. However, there are several other distinctions, some using terms that can be confusing and often lead to a misunderstanding of an item’s composition and hence its value.

One of the most important metallurgical terms that are also used in Antique and Modern Silver are the words ALLOY and PLATED. Alloy refers to a composite metal that consists of two or more distinct pure metals that are fused together so as to make them inseparable by mechanical means. Plated on the other hand, refers to metals that have a layer deposited and adhered to a Base Metal to give it the appearance that the entire item is made of the same material used in its Plating. The base metal for most antique Silver items in today’s market is usually Copper, Nickel Silver, Stainless Steel, Brass, or Bronze.

Sterling Silver is actually an Alloy. Because silver is soft in its purest form, Silversmiths mix silver with copper to make it harder and more durable. Additionally, copper gives the resulting alloy a nicer sheen and is more appealing. This is how the Fineness Hallmarks used on silver have come to have meaning and each country considers certain levels as minimum standards (some changed over time) and are usually enforced when on Jewelry and other Silver items. For example, in the United States the first legal Sterling Silver standard was introduced by Charles Tiffany in 1852 and was soon adopted by the US Federal Government as 0.921 parts of Silver and 0.079 parts of Copper. In the United Kingdom, the Sterling Standard was established much earlier, in 1238 (enforced after 1300), and refers to a minimum of 0.925 parts of Silver and 0.075 parts of Copper. Items made of at least 99% pure silver are usually referred to as Fine Silver. In America, Coin Silver refers to a minimum of 90% silver content.

It is interesting to note that, in spite of its name, Nickel Silver does NOT contain any silver. It is actually an alloy of copper, nickel and zinc in varying proportions, usually 2:1:1 or 3:1:1. It is similar to the Chinese “Paktong” as imported to Europe prior to the 19^th century and until Nickel was more readily available from various Colonies. In the west, it was developed first in Saxe-Meiningen, Germany, in 1824, hence its other name as German Silver. Since then, Nickel Silver is used extensively as a Base Metal on Silver-Plated items hence the common abbreviation EPNS (Electro Plated Nickel Silver) or EPGS (Electro Plated German Silver).

Which brings us to Silver Plating…

A very successful method of Silver Plating was Sheffield Plate, which although already known since antiquity, was formally patented for industrial use by Thomas Bolsover of Sheffield in 1742. The initial name for this method was Copper Rolled Plate, which refers to the basic technique employed at the time of rolling a layer of Silver onto a layer of Copper, sometimes on both sides. This produced a very compact and large silver sheet, usually rolled in ingots, that was still thin enough to be malleable for the Silversmith when forming intricate designs. The term Sheffield Plate became popular ca 1770s and was later referred to as Old Sheffield Plate to distinguish it from other methods developed after 1830s. Initially, the majority of Sheffield plated items had the base metal covered on the external side only (Single Plated) whereas the other side was covered with Tin. However, market demand for Double Plated items, especially on hollowware was soon evident and most specimens surviving today as Antique Sheffield Plate are double plated.

Because of repeated increases of taxation on Solid or Sterling Silver during the period between 1784 to 1815, other promising methods of Silver Plating were soon developed that were less expensive and easier to replicate in industrial quantities. Most of these techniques employed the use of fine and very thin layers of Silver, sometimes referred to as Silver Leaf, that were pressed against the base metal 3-5 layers at a time and then heated and burnished to a smooth finish. Since it took a total of 40 or 60 Silver Leaf layers to get each item ready, this method was still laborious and expensive. This method is now known as French Plating because it was mostly popular amongst French platers during the 18thC. Other similar forms of Silver Plating were also developed around the same time, including Roberts Plate ca 1830, British Plate ca 1835, and Merry Plate in 1936.

However, the most important change in Silver Plating came about with the invention of Electro Plating, a method that simply requires placing the item to be plated along with a small ingot of solid silver in a bath of mild acid and applying electric current. This set-up enabled an evenly uniform deposit of solid silver on the plated item, and varying the current and time during the process, allowed for very precise control in the thickness of the plated silver. Electro Plating was first discovered by John Wright of Birmingham in 1840, but was officially patented by Elkington & Co. around the same time. It has since been in extensive use and has remained the dominant way of Plating Silver to this day. Most Electro-Plated wares have a plating thickness of about 3-30 microns; Flashed or Silver-Wash wares have less then 3 microns.

Silver plated items were not required to have hallmarks by law. However, many companies used their own logos and often included the type of Plating that was used on each piece, usually as initials EPS, EPNS etc. This practice eventually became the norm and now most Silver-Plated items found in the market are marked with their respective maker’s trademarks. Unfortunately, some companies intentionally used marks that were very similar to true Sterling Silver Hallmarks in order to gain market acceptance at the time, but this was only during a very brief early period since authorities and other merchants whose marks were imitated, prosecuted this use.

Finally some other terms related to Silver include:

Standard Silver Plate: The equivalent of using 2 troy ounces of Pure Silver for every 144 Silver spoons being ElectroPlated.

Quadruple Plate: The use of 4 times the Standard electroplating amount of Pure Silver, i.e. 8 oz for every 144 silver spoons

Britannia Silver: A Sterling Silver alloy of 0.9584 Pure Silver Fineness

90g or 90G or G90 or 90 or Hard Plating: Refers to Elctro-Plating of over 30 microns thickness; found mostly on German Cutlery & Utilitarian Flatware ca 1920s onwards.

Alex and Elizabeth are WorthPoint Worthologists.

Hello:

The Estate has, items in very good condition, with minor distress: H & C Bavaria Plates (90pcs), Crooksville China floral plates (5 pcs), Antique Doernbecher Dbl. Bed set with Lead Mirror/Vanity, Chifforette, Vintage L.A. Furniture 1970s solid wood Dbl. Bed set, Remembrance & Queen Bess Silverware and Silver plated cutlery (50 pcs).

Collectibles: Presitige plates by Style House, 1968 (46 pcs), many 8 track tapes, VHS, Glass/Vinyl Records.

Vintage: 1960-70s electronics, tools, glass and deco items.

Preview at http://www.a-muse9.com/ , 360-750-1868, danielle98661 [at] netzero [dot] net or leave msg. 360-696-4838, sandrachampie [at] msn [dot] com .
Please contact us about possible value of items or purchase of them. Sandra Champie

It measures approximately 9 1/4 inches in diameter, 4 1/2 inches tall, the top rim piece comes off and it has 4 designed feet.

It weighs 2 lbs. 6.2 ounces

On the bottom of the piece:

Quadruple Plate Meriden Connecticut

Wilcox Silver Mfg Corp

Pat’d July 16th, 1895

6310

8

It is also numbered 3900-7 [hand engraved]

If anyone can identify this piece, I’d appreciate your knowledge.

I would like to know the value of the piece and WHAT is it?

Thank you for your time.

~Sharon L.

There are many products out there on the market assuring you that their quick and easy method will not only clean your silver to its original pristine color and condition but will provide testimonials attesting to the efficaciousness of the product supplied by museums, cathedrals and “as seen on TV.” Ultimately, when done, they’ll have you convinced that your piece of silver will be whistling Dixie.

Unfortunately, these products are basically quick and easy dipping compounds or chemically-treated wadding or cloths that with prolonged use may ultimately damage your silver, whether it’s sterling or silver plate. There is a caveat to the use of these products which is, only severely tarnished (Black) silver, or silver that is corroded should be dipped, but once dipped, and thoroughly washed, should then be cleaned with a cream polish to remove any lingering tarnish or chemical residue, and will restore some of the original luster.

”Skinned” silver can’t be restored

In the past compounds, known as jewelers rouge (calcined ferrous sulphate), were liberally and almost exclusively used to clean silver. As a result most 18th and 19th century silver has a surface that is scratched and has a hard brilliant shine instead of a soft lustrous shine. This kind of silver, in collector’s parlance, is known as being “skinned,” and there is virtually no way, short of professional conservation, to regain the original patina.

Some of these cleaning compounds are still on the market and still being used. The process is to liberally apply, let dry, then rub like the dickens to remove the dried-on polish. The results with the kind of rubbing this requires is to remove, in silver plate, by degrees, the thin layer of silver applied to the base metal, and in sterling, to wear down the silver making it thinner by degrees. These products are to be avoided at all cost.

Here’s how to clean silver

Use a cream polish cleaner specially formulated for cleaning silver, never a cream cleaning compound formulated for other metals like brass and copper. I recommend Wrights Silver Cream–this company knows their stuff and has been producing an excellent products since the 19th century.

Liquid cleaners are less effective and more cost-prohibitive, because you use more of it to accomplish the same job, and it can leave a residue especially in silver filigree (ornate open work) designs that can build up and is difficult to remove.

Rinse, do not soak, the item to be cleaned in clear hot water prior to cleaning to remove dust and grime that has accumulated on the surface. Always use a soft cotton cloth when washing or drying silver-this is where the old under shirts come in handy.

Apply the silver cream to the surface with the sponge that is provided. Depending on the degree of tarnish, rinse out the sponge frequently in warm water, reapply a small amount of silver cream and continue the work on the piece until finished.

If you are cleaning filigree silver (open pierced work) use a SOFT toothbrush applied with silver cream and gently work the cream into the design, slowly dry the filigree work so that the cloth does not catch in the pierced open work and therefore damage it.

Do not over-clean silver

By that I mean, if your silver is engraved or an elaborate design is etched into the surface, allow some of the tarnish that has accumulated to remain in the design. This will actually enhance the design.

When item is thoroughly polished rinse in soapy warm water, rinse again in clear warm water, wiping with a soft cloth, then dry thoroughly. If you are drying silver boxes or items with attached lids do not hold the item by the lid as this could damage the hinge. Make sure the interior is completely dried. Once dried, if the piece is to be stored, try not to handle the item too much as the oils and acids in our skin will leave marks.

How to store your silver

Large silver pieces should be stored or displayed in airtight cabinets, as this type of storage will retard the tarnishing process. Specially designed silver storage bags can be used for larger silver pieces not on display.
When it comes to flatware, if you have a silver chest specially designed for storage this is best, otherwise use silver bags that are designed with slots to hold the individual pieces.

Regular use of silver flatware will enhance the patina and the enjoyment garnered from the use is tremendous. Avoid putting silver flatware in the dishwasher as some dishwasher detergents can actually tarnish silver.

Never soak knives that do not have solid handles. Most older or antique knives have a loaded compound like tar or plaster of Paris that holds the steel tang (metal shaft) in place, so soaking these types of knives will cause the filler compound to swell and will eventually split the silver handle.

Pay particular attention to knives with mother-of-pearl handles or ivory handles, these must be cleaned by hand. Some older or antique knives have steel blades, if not properly cleaned and dried will rust. There is an excellent product, Barkeepers Friend that is ideal for cleaning tarnished or rusted steel blades.

Get in the habit of regular silver cleaning

The truth is, most people clean their silver twice a year, whether it needs it or not. Usually this cleaning involves a holiday which is fraught with other time constraints and tension-producing situations, therefore making the silver cleaning arduous and yet one more thing that has to be done. If regularly cleaned, used and enjoyed, however, the psychology of silver cleaning can be altered.

Related Links:

Here are some links to products that will help you in the cleaning and preserving of your silver.

Wrights Silver Cream www.jawright.com
Bar Keepers Friend www.barkeepersfriend.com
Siverguard Storage Bags www.silverguard.com

Let me state this again, as I’ve stated it on other blogs as well as articles. This is the time to sell your silver.

With oil going through the roof, silver can’t break out. It peaked at about $20 plus and now has settled in a trough between $16 and $18. This is when the value of silver should be setting the world on fire, but it isn’t. Sell, Sell, Sell ungraded silver. I am betting my reputation on this.

I did gain a different perspective on collectible grade coins while I was there. This movement in the price of metal might have been what the market needed to attract new collectors in the coin market. If this is true, then investment coins may be something worth looking into.

Remember that the rare and unusual coins will be the ones that can make you the money, not the coins that aren’t worth grading. Gold coins with low mintage are the coins I would recommend. If you are able to find them ungraded but in fine condition, there might be the opportunity to profit from the grading. This means sending them of to a company that will grade each coin against one that is in mint or proof condition. This is exactly what our member, Cecil, did and it proved to be the treasure that took him several steps in his race to the million dollars. However, you might remember he incurred the theft at the mall where he was displaying some of his coins, and this was a small set back for him.

Be safe when you are dealing in rare coins, and it is best if you are a little secretive as well. I know that doesn’t sound like me, but in this case, it is better to be safe than sorry.

On another note, I was thinking back just eight months ago to when we were just beginning to formulate the plans for what is becoming one of the most successful clubs around, and I am astonished. Daily, I am getting calls from all across the country, and people are starting to realize just what being a member of the 31 Club can mean to them.

Today one of our members wanted to know how to sell some Indian Katina’s, and while we where talking, he mentioned several other items that he might sell. Hopefully, we can help him and also save him money in the process. Another gentleman wanted to talk about some items that were coming up for bid at auction and about what price would be good to buy them at if he had the opportunity. Another member called wanting to know whether a piece was a print or a painting, and I had the pleasure to explain to her how one could tell the difference.

Your calls bring me great satisfaction. When the idea of the club started, it was about giving back for what God has given me. I believe this is being accomplished, and so does our staff. We are growing, and I am so thankful. It couldn’t have happened without you. Please be patient with the reconstruction of the site, because as I see what Jeremy and Cindy are doing, I know that it is all going to be worth it.

Don’t just follow the daily Blog. Join with like-minded 31 Club Members and put a turbo charge on your treasure hunting skills. Get FREE Mentoring. Learn Inside the Industry Secrets. Learn to make high profits and continue to grow your money buying and selling antiques, fine art, and collectibles. My 220 page book, 31 Steps to Your Millions in Antiques & Collectibles is FREE with your membership. The book is also available on Amazon.com. If you buy the book on Amazon, then the membership is FREE.

Visit our Website at www.31corp.com

Do you know a single napkin ring can bring up to $5,000? But be careful, because there are reproductions. Napkin Rings were fashionable from about 1860 to 1900, and no formal table would have been set without them. Where did the days of the formal table go, now that we are in the disposable age where everything goes into the trash as soon as the meal is completed?

Several years ago at an auction on the far west side of Chicago, I found 25-30 silver plated napkin rings from the late 1800’s. I was new to buying silver then, because my first love had always been pottery, so I was a little reluctant to buy these. But, I did buy half a dozen of them at prices from $75-$100. Soon after this purchase, a man approached me and asked if they were for sale. He was more familiar with silver than I was, so I declined to give him a price, and took them home instead. Then, I listed them on eBay.

My money doubled the first they were listed. You see people back then thought that a snipe was a bird, and they didn’t wait until the last 30 seconds to bid on something they wanted. The best of the bunch closed at over $500, and the rest were not far behind.

You must be sure of what you are looking at because some are still being produced today. The figural rings are usually the most expensive, and in Kovels Price Guide, some of these go up to $4,000. A silver plated 3 ½ “ ring with a Conquistador on top made by the Toronto Silver Plate Co. sold for close to $5,000. I would suggest that any older silver or silver plated napkin ring would fetch at least a hundred or two.

You will find all kinds of of Napkin Rings, and often, they will be round with just a letter engraved on them. Even these simple one can sell for $100 or more. But if you find ones with children, oriental figures, Lads and Lassies, animals or Samurai’s, then you have found a treasure. It might seem strange, but it doesn’t seem to matter if the napkin rings are sterling or plate and the maker seems to be the most as it pertains to price. And although napkin rings are made in many different materials, only the silver ones shine.

Often you will find napkin rings in box lots. Some of the time you really have to look thoroughly through the entire box to find where people have hidden them during the preview, hoping that no one else would know these valuable ones are there. If you locate a set of these in a house and can negotiate a price for them all, you should come out smelling like a rose when they are sold individually. These may not get you to the million, but they are definitely more than pocket changes.

Some of you wrote about yesterday’s blog, and you are right. Cindy did correct me. There doesn’t seem to be any Key Ring Clubs but she did point out to me that Key Rings and Key Chains are the same and there is a Key Chain Club. However, as I studied it, I found they aren’t offering what I had in mind.

Construction Alert: Yes, we are under reconstruction and you might see some glitches for a few days. But, when we are finished, you will be pleased. Thanks for your patience.

Don’t just follow the daily Blog. Join with like-minded 31 Club Members and put a turbo charge on your treasure hunting skills. Learn Inside the Industry Secrets. Learn to make high profits and continue to grow your money buying and selling antiques, fine art, and collectibles. My 220 page book, 31 Steps to Your Millions in Antiques & Collectibles is FREE with your membership. The book is also available on Amazon.com. If you buy the book on Amazon, the membership is FREE.

Visit our Website at www.31corp.com

Today’s Photo: Antique Tiffany Co. sterling silver childrens napkin ring c1890 is offered at OneOfaKindAntiques.com for $900

thanks for any help I can get,
Elizabeth
eschmi25 [at] gmail [dot] com