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The Charm Of An Antique Bracelet

When my grandmother passed away, she bequeathed me her antique amethyst bracelet. This antique bracelet, I later learned, had about as many stories as she had, and that was plenty. Her amethyst bracelet had been in the family for generations, as are the case with many antique bracelets, an heirloom viewed as beyond all value, and cherished and for generations to come.

The antique bracelet went way back to the ?old world,? to her mother's upbringing in the area now known as the Czech republic. At that time, the antique bracelet was the only true thing that could be said to of that value of her family's possessions. Her journal spoke of a beautiful amethyst bracelet, which her mother would not even venture outside a house with that on for fear of loosing it or having someone taken from her. My grandmother's earliest memory is of watching the sun's rays dance off the face of the beautiful antique bracelet, as her mother rocked back and forth in her old rocking chair in her small village. But the origins of that antique bracelet, that the one amethyst bracelet, predated her by quite a bit as well. The antique bracelet went back all the way to the marriage of my great, great, great grandmother. I don't know exactly how old that is but there sure are a lot of greats in that one.

The family has since then fallen on hard times I'm sorry to say, they once had been quite well-off, and the antique bracelet had reportedly been given as a wedding gift to my great ancestor by a nobleman. She at one time could actually lay claim to half of a rich, fertile region, and rode proudly on a horse, surveying all she posessed, the antique bracelet was one of many beautiful pieces of jewelry that adorned her person.

In the antique bracelet was mysteriously unaccounted for for quite some time. There evidence that there was some sort of a few with a neighboring nobleman that may account for its disappearance. Apparently it was pretty bad, because there is a long and elaborate record of the dead. As far as we know, it became so there that even their manor was burned to the ground, and the antique bracelet was one of the items that was destroyed by the fire.

One of my ancestors became obsessed with the amethyst bracelet, and spent a great deal of time and effort trying to locate its, until the beautiful antique bracelet was hers again. She succeeded and I was glad. But it was also rather foolhardy because the family itself was wanted by the other family to be put to death after having come out on the short end of the feud, and spent such a long time in hiding that they eventually became peasants just like almost everyone else back then, but the beautiful amethyst bracelet is the last remaining remnants and of a once proud and noble clan.

About the Author:

Morgan Hamilton offers his findings and insights regarding the world of gems and jewelry. You can get interesting and informative information here at http://www.gemsandjewelryinfo.com/gems--jewels/jewelry--watches/antique-bracelet.html

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The MINI Clubman Officially Debuts

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Mobile Phone News - Vendors Keep Handsets Handy, Hued

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Antique Lover's Dream Vacation River Cruising Through the South of France

Ever dream of shopping at Paris flea markets, exploring antique shops off the beaten track in Provence, dining in famed Lyon restaurants and visiting world famous French wineries? Now, imagine doing all that while cruising the scenic Sa?ne and Rh?ne Rivers in the breath taking Burgundy and Provence regions of France aboard a luxury ship!

It?s a river cruise adventure designed for antique lovers with stops throughout the stunning south of France, capped off with a tour of the famed Paris flea markets. This is how I?ll be spending my summer 2007 vacation, guiding twenty-eight antique adventurers through the south of France aboard a 152 passenger luxury ship. River cruising is a relatively new way to explore Europe with lots of advantages over bus touring (no sitting for hours on a bus) and ocean cruising (no multiple days at sea).

Along the way, we?ll discover the antiques of the region. I?ll guide our group through any purchases and shipping will be arranged for any treasures acquired. It?s any antique lover?s dream vacation, including mine. Visiting one port a day we?ll explore antique shops tucked away in Provence. It is a great way to explore antique shops and flea markets up close and in depth. A 10-night antiques river cruise tour: 7-nights aboard a luxurious ship cruising the south of France and a 3-night Paris stay is an intimate exclusive way to discover Burgundy and Provence.

Flying into Marseilles, we?ll be transported to the ship in Avignon, cruise the scenic Sa?ne and Rh?ne Rivers through the Provence and Burgundy regions on France, disembark in Chalon-sur-Sa?ne and be transported by motor coach via Dijon through the scenic countryside into Paris for a 3-night stay.

Docking in the heart of town, we?ll see the cities and experience the ever-changing riverside
scenery as well as the local nightlife, including an overnight stay in Lyon, home to many Michelin-rated restaurants. Any trip to the south of France is incomplete without experiencing all that the region has to offer so a winery tour in Beaune, the wine capital of Burgundy, and visits to Arles and Avignon are just some of the adventures that await us.

France is a wellspring of undiscovered riches for antique lovers - brimming over with treasures and
precious keepsakes from the past. I?ll conduct exclusive evening workshops that will arm the group with all they?ll need to know to unearth treasures, including how to tell the difference between an antique and a reproduction, how to know what's fake and learn about antiques of the region. It's MY idea of a dream vacation. How can any antiques lover resist?" Provence, Burgundy, wine, antiques, top restaurants. Did I mention antiques....merveilleux!"

To learn more about river cruising in the south of France visit http://www.takeaboo.com/RiverCruise.

Martin Swinton owns Take-A-Boo Emporium, an antique shop located in Toronto, Canada. He does furniture restoration, caning, cording and rushing repairs, upholstery, teaches courses on antiques, does appraisals and consults to others interested in opening an antique shop. He can be reached at 416-785-4555 or by visiting http://www.takeaboo.com.

Join Martin antiquing through the south of France in August 2007. Visit http://www.takeaboo.com/RiverCruise for more details.

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The Care and Conservation of Antique Prints

For many collectors of antique works on paper specifically antique prints the care and preservation of their valuable collection is the most vexing issue they face. It need not be. A little common sense, and sometimes a healthy dose of restraint, will go a long way toward making sure that your important, unique, and hard-won collection remains preserved for generations to come.

The production process used in the making of your antique print does not alter in any significant way the care that it needs. Whether it be a lithograph, copperplate engraving, mezzotint, or other process, the basics of caring for the print remain essentially the same. Broadly speaking, there are four major aspects of good conservation that the average collector should be aware of. These four key areas are: handling, repairs, framing, and storage. If you follow some simple rules in all these areas, your prized possessions should retain their good condition and value.

Handling damage is at the top of the list for a very good reason. In my opinion, as a dealer in antique prints, more problems are caused by careless handling than any other single problem. Great care must be exercised when handling an antique print, because the paper itself is so fragile. You only need to accidentally tap the edge of an antique print against a sharp corner, such as the edge of a desk, to cause serious chipping. If the print has little or no margin, an event like this can be catastrophic to the image area. Pervasive as it is, handling damage is an aspect of conservation that can easily be solved by common sense. First, do not work with your prints unless you have the time and space to do so. Handle them when things are quiet, not when your toddler needs attention. Second, make sure you have the space to put them down safely, such as a large table. Third, wear thin cotton gloves, available from framing supply stores. And finally, nless you are dealing with large numbers of very inexpensive prints, it is always a good idea to have each one stored loosely (not encapsulated) in a mylar sleeve. Mylar is a crystal-clear, polyester film, and it is very easy to find on the internet. Beware of imitations, and specify Mylar, because Mylar does not interact chemically with the print.

At some point in time, almost all collectors of antique prints are tempted to fix a defect by themselves. My response is: dont, dont, and dont. All of the things that are commonly attempted on antique paper the removal of stains, wrinkles, and pencil marks, the mending of a tear, the filling of a hole, or, heaven forbid, the whitening of a darkened piece of paper all these actions have the potential to cause irreversible damage, and to seriously reduce or eliminate the value of a given piece. Professional conservators spend years learning how to perform these complex tasks correctly and they will be the first to tell you of the perils they face with each job. Leave the restoration to the conservators.

Framing is another area that can often bring trouble. Yet, a few easy tips can usually ensure a successful framing project. First, use a good framer. Call a local museum and ask who they recommend. Ask friends or acqauintances for recommendations. Dont be afraid to shop around. Then, expect to pay a bit more. Good framing is expensive, but it should outlast all of us. When you are satisfied you have selected a good framer, you should be comfortable in being guided by them, but here are a few musts. You must use anti-uv or conservation framing glass. This will deflect most of the harmful light that can destroy paper over time. If you are using matboard, you must use archival quality matboard, so it does not, as time passes, chemically interact with the print. You must never allow antique paper to be adhered in any way to a backing board. You must insist on archival quality backing board. Insisting on these basic steps will take you a long way toward a successful framing job and finally, dont hang your finished piece in direct sunlight, near a direct heat source, or in a humid area such as a bathroom.

Framing, when done correctly, is one of the best ways of storing antique works of art on paper. But since it is both expensive and space-demanding, it is rarely the complete solution for most collectors. Good, long-term storage can be accomplished by keeping antique prints in mylar, stored flat, in a dry, cool space. Excessive heat and excessive humidity are enemies of antique paper, but many homes today are climatized to avoid such excessive conditions. If you need to store a number of loose prints, the best solution is to use one of the many excellent archival boxes that are available on the market.

After a little practice, even the newest collector can quickly master the basics of good care for antique prints. Common sense is your greatest ally, and most often, your greatest enemy will be the dangers posed by poor handling. So learn the basics, treat the antique paper with the respect it deserves, and always handle with care, and your collection will bring pleasure and joy for many generations to come.

The production process used in the making of your antique print does not alter in any significant way the care that it needs. Whether it be a lithograph, copperplate engraving, mezzotint, or other process, the basics of caring for the print remain essentially the same. Broadly speaking, there are four major aspects of good conservation that the average collector should be aware of. These four key areas are: handling, repairs, framing, and storage. If you follow some simple rules in all these areas, your prized possessions should retain their good condition and value.

Handling damage is at the top of the list for a very good reason. In my opinion, as a dealer in antique prints, more problems are caused by careless handling than any other single problem. Great care must be exercised when handling an antique print, because the paper itself is so fragile. You only need to accidentally tap the edge of an antique print against a sharp corner, such as the edge of a desk, to cause serious chipping. If the print has little or no margin, an event like this can be catastrophic to the image area. Pervasive as it is, handling damage is an aspect of conservation that can easily be solved by common sense. First, do not work with your prints unless you have the time and space to do so. Handle them when things are quiet, not when your toddler needs attention. Second, make sure you have the space to put them down safely, such as a large table. Third, wear thin cotton gloves, available from framing supply stores. And finally, nless you are dealing with large numbers of very inexpensive prints, it is always a good idea to have each one stored loosely (not encapsulated) in a mylar sleeve. Mylar is a crystal-clear, polyester film, and it is very easy to find on the internet. Beware of imitations, and specify Mylar, because Mylar does not interact chemically with the print.

At some point in time, almost all collectors of antique prints are tempted to fix a defect by themselves. My response is: dont, dont, and dont. All of the things that are commonly attempted on antique paper the removal of stains, wrinkles, and pencil marks, the mending of a tear, the filling of a hole, or, heaven forbid, the whitening of a darkened piece of paper all these actions have the potential to cause irreversible damage, and to seriously reduce or eliminate the value of a given piece. Professional conservators spend years learning how to perform these complex tasks correctly and they will be the first to tell you of the perils they face with each job. Leave the restoration to the conservators.

Framing is another area that can often bring trouble. Yet, a few easy tips can usually ensure a successful framing project. First, use a good framer. Call a local museum and ask who they recommend. Ask friends or acqauintances for recommendations. Dont be afraid to shop around. Then, expect to pay a bit more. Good framing is expensive, but it should outlast all of us. When you are satisfied you have selected a good framer, you should be comfortable in being guided by them, but here are a few musts. You must use anti-uv or conservation framing glass. This will deflect most of the harmful light that can destroy paper over time. If you are using matboard, you must use archival quality matboard, so it does not, as time passes, chemically interact with the print. You must never allow antique paper to be adhered in any way to a backing board. You must insist on archival quality backing board. Insisting on these basic steps will take you a long way toward a successful framing job and finally, dont hang your finished piece in direct sunlight, near a direct heat source, or in a humid area such as a bathroom.

Framing, when done correctly, is one of the best ways of storing antique works of art on paper. But since it is both expensive and space-demanding, it is rarely the complete solution for most collectors. Good, long-term storage can be accomplished by keeping antique prints in mylar, stored flat, in a dry, cool space. Excessive heat and excessive humidity are enemies of antique paper, but many homes today are climatized to avoid such excessive conditions. If you need to store a number of loose prints, the best solution is to use one of the many excellent archival boxes that are available on the market.

After a little practice, even the newest collector can quickly master the basics of good care for antique prints. Common sense is your greatest ally, and most often, your greatest enemy will be the dangers posed by poor handling. So learn the basics, treat the antique paper with the respect it deserves, and always handle with care, and your collection will bring pleasure and joy for many generations to come.

ABOUT THE AUTHOR

Neil Street is the owner of VintageMaps.Com, which he founded in 1997. His website, an online destination for the antique map and antique print enthusiast, is at http://www.vintagemaps.com Send email to ncstreet@vintagemaps.com He can also be reached at (203)856-1755

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SearchChicago: News and advice

Sat, 29 Dec 2007 10:53:08 GMT
The Dodge Dakota has long been a standout in the mid-size pickup truck segment with larger dimensions and greater hauling capabilities than its competitors.

Noe is lead suspect in Sherrill homicide

Wed, 09 Jan 2008 18:23:31 GMT
Jimmy Ray Noe, who was arrested Dec. 28 in connection with the armed robbery of Murphy USA gas station in Dayton, is now the primary suspect in the death of Danny Ray Sherrill in Spring City.

RP500MA: DC to AC Wall Adapter

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