Wednesday, December 24, 2008

Caring For Your Vintage and Antique Linens and Textiles—Part One
Removing Stains and Washing Textiles and Linens
The one question that I get asked over and over whenever I’m doing a show is: “How do you get your linens so clean?” The answer is not very exotic: A lot of soaking and patience! Antique and vintage linens require gentle care, but in most cases, can be used and enjoyed for years to come.
Soaking and washing will clean most linen quite nicely. Occasionally, there will be a spot or stain that just won’t come out. In that case, all you can do is accept it as part of the piece and think of it as adding character. Often, a stain can be minimized so that it doesn’t distract from your enjoyment of the overall piece.

Antique Linen Damask Monogrammed Tablecloth or topper: A wonderful old piece of damask linen, offered for sale by Victorian House Antiques on GoAntiques. The piece is noted to be 28.5 x 34 inches, and is in good condition with only one spot. That spot might be able to be soaked out.
Cotton and linen damask tablecloths and napkins, damask and huck towels, sheets and pillowcases should be soaked in lukewarm water mixed with Biz or Oxy-Clean. Although Oxy-Clean is fairly new to the market, Biz has been around for years and is an old laundry staple. Don’t be afraid to let the items soak for hours, even days. Check the item to see if the stains are still there, mix a fresh solution and soak again. I’ve soaked items two and three times until the offending stain or spot was either gone or reduced enough that it didn’t detract from the piece.

Sears Linen and Cotton Table Cloth and Napkins 1936 Ad: A Sears ad shows damask table cloths and napkins and their prices in 1936. Antique linen can still be used today if you take care and wash carefully. The ad is courtesy of GoAntiques dealers Charles & Phyllis J. Wille.
Both Biz and Oxy-Clean are great at getting out all kinds of stains. I’ve even removed red wine stains from a tablecloth with Oxy-Clean. However, never soak any fabrics with rayon, silk, wool or metallic threads in either stain cleaner. Also, if the item has any colored embroidery on it, go cautiously. A lot of early embroidery threads were not colorfast, particularly, the reds, blues, and purples. Start with cold water and watch it. If any color appears in the water, immediately remove the items and rinse in cold water. If the water stays clear, let it go a little longer, but keep an eye on it. If after awhile, you don’t see any discoloration in the water, the thread is probably colorfast.
Carefully remove linens and textiles from water. The weight of the water can pull and stretch the fabrics or even tear them. Many old fabrics are very fragile when wet. It’s best to use an old towel as a sling to pick items out of the water. Never wring old textiles or linens. Gently roll them in an absorbent towel to remove the excess water.
Once you’re done soaking, rinse the item in water until the water is clear. Damask and linen textiles can usually be put in the washing machine in cold water on a delicate cycle. Use a mild detergent, such as Ivory. Any pieces with intricate handwork, such as drawnwork, or lace should always be gently handwashed.
Sun bleaching is another method for cleaning linens. This is a technique that dates back generations when grass fields in Europe were known as bleaching fields. I’ve never had the opportunity to try this, since my yard is full of trees with no large sunny areas. However, I’ve heard great success stories from many textile experts and collectors who have used this technique. After soaking an item, rinse and wash it, and then lay it out on green grass in the sun. This works particularly well with damask and huck tablecloths, napkins, towels and sheets. A few cautions: Colored tablecloths and linens will fade in the sun, and watch out for birds, insects and roaming neighborhood cats and dogs.

Huge Damask Huck Linen/Lace - Towel: This beautiful antique towel, made from cottage damask huck linen and adorned with hand-made lace, also listed by Victorian House Antiques on GoAntiques, is listed as in excellent condition, with a few faint spots.
Chlorine bleach should never be used except in rare instances as a last resort. Bleach is very harsh on delicate fabrics. I never soak an entire piece in bleach. On a few occasions, when all other attempts have failed, I may spot-treat a stain with bleach. Bleach pens are good for this. I’ll do this only on sturdy white fabrics, such as damask or huck. After treating the area, be sure to rinse the entire piece thoroughly. I would rather have a small spot than a hole in a nice vintage or antique textile.
Rust stains are some of the toughest to remove. Whink, a rust spot remover, often works. However, this is a strong chemical, so read the label carefully and use sparingly. A paste made from lemon juice and salt may also work. Often, rust is one of those stains that you have to learn to live with.
Once your linens are clean and fresh, hang them to dry. I don’t recommend a dryer because the high temperature can be hard on delicate or old fabrics.
Wonderful linens and textiles should be used and enjoyed. I have hand-crocheted pieces from my great-grandmother that I cherish despite a few spots and worn areas. She was a prolific crocheter and would be thrilled to know that her pieces had been passed down and were still being used and enjoyed rather than stored in a drawer. Unless it’s a rare museum piece (in which case it should probably be in a museum), don’t be afraid to display and enjoy your collection and heirlooms.

http://www.worthpoint.com/author/lynda-kolski

Friday, December 12, 2008

Good advice from a leading expert – caring for fine antique furniture
December 10, 2008
If you have the good fortune to own fine antique furniture, you have a responsibility to preserve it for future generations. Mary Helen McCoy, founder and president of Mary Helen McCoy Fine Antiques, a director of The Art and Antiques Dealers League of America and one of only 15 U.S. dealers to be a member of the prestigious Syndicat National des Antiquaires, offers these tips for caring for antique furniture: WoodMost furniture has a coating which protects it from use, moderates the interaction of moisture with the wood and provides a pleasing appearance. Many furniture pieces have a wax coating, which requires occasional maintenance by a professional. When hiring a furniture conservator or professional restorer, always check references first. If maintaining a wax coating yourself, apply a good beeswax-based polish with a soft cloth that will not scratch the furniture. Polish sparingly and preferably leave on overnight before rubbing well. Twice a year is about enough. Regular dusting with a soft cloth is all that is needed in between. If the furniture has a hard coating, it should be cleaned with a damp cloth, followed immediately with a dry cloth. Never use spray polishes as they may contain silicone and other materials, which contaminate the surface and can lead to a sticky surface.If a piece requires conservation, hire a qualified professional in your area. To find suggestions, consult The American Institute for Conservation Web site,
http://aic.stanford.edu.Wood is a complex organic substance responsive to changes in temperature and relative humidity. A practical maintenance goal is to keep temperatures at 60-70 degrees F with a relative humidity level at 45 to 55 percent. Regular use of a good humidifier in winter and an air conditioner in summer will protect furniture from extreme fluctuations. Use window coverings to protect wood furnishings from the damaging effects of too much sunlight, which over time may result in uneven fading.MarquetryMarquetry pieces should be checked for the stability of the veneer especially in winter when the air is dry, as changes in climate or humidity can affect these pieces. Try to maintain a proper interior climate if you have pieces such as these. If the veneer is loose, proper care should be taken to secure the veneer using the correct glues recommended by a professional. Many surfaces can be French-polished in the traditional 18th-century manner. Do keep these pieces away from heating vents and direct sunlight. Dust carefully with a soft cotton cloth. A little dust will not hurt the furniture, so you do not have to dust all the time. Leave polishing of marquetry to a qualified professional.BronzesIt is best to seek the advice of a furniture conservator or professional restorer to the cleaning of bronzes. Household cleaners can inadvertently damage the patina on them. SeatingSeating furniture can last many years if properly restored by a qualified professional. This should include taking the chair or sofa apart and reassembling using pegs and glue that would have been appropriate. The upholsterer should then remake the proper seats and backs as would have been done before. Webbing should be used on the bottom. Tacks were often used on seat furniture, which may cause the rails to be brittle. The restorer or the upholsterer may have to strengthen the wood in order to use nailheads again.Gilding and paintUnfortunately there is not much of the original gilding or painting left on much of the furniture we see today. Many of the natural carved wood Parisian pieces on the market today may have been painted or gilded when they were first conceived. Among those pieces are chairs, canapés and consoles. To restore these pieces consult a qualified conservator.DrawersThere are always problems with drawers and it is perfectly fine to repair them so they operate. However, a furniture conservator or professional restorer should do the work to keep the drawer as original as possible.Cast metal feet (sabots) and furniture legsIf a sabot is missing from a piece of furniture you should have the replacement match what was on the piece originally. Broken legs can be repaired properly as well by a good restorer or conservator.As time goes by, more and more furniture will need restoration to keep it alive and well. “Furniture should always be maintained and conserved, not over-restored or embellished. We are stewards of these pieces for a short while and we should enjoy and respect each piece.Mary Helen McCoy Fine Antiques exhibits in prominent, national and international fine art and antique fairs. The firm is one of only 15 dealers in the United States to be a member of the prestigious Syndicat National des Antiquaires (SNA). It is also a member of the esteemed Confédération Internationale des Négociants en Oeuvres d’Art (CINOA) and The Art and Antique Dealers League of America for which McCoy serves on the board of directors; she also serves on the board of trustees for the Birmingham Museum of Art.Mary Helen McCoy Fine Antiques is located at 120 King Street in Charleston, S.C., and is open Monday to Saturday, 10 a.m.-6 p.m. For more information, call 843-577-6445, fax 843-577-6447, e-mail MHMcAntq@aol.com or visit www.maryhelenmccoy.com.

Friday, November 14, 2008


Home Page - Comprehensive Coverage in the World of Antiques » Features » Columns » Art Markets: Hand-painted photo art can fool the eye
Art Markets: Hand-painted photo art can fool the eye
November 12, 2008by Mary Manion

An interior colonial scene, Affectionately Yours is a hand-colored photograph by Wallace Nutting done by his studio circa 1915-25.
Recently a customer brought what he thought was a painting to an appraiser for evaluation. The framed artwork was a landscape, signed and titled at the margins, apparently painted in soft, muted colors. But the appraiser noticed a silvery shadow at the edges, a telltale sign of the oxidation that can occur with old black and white photographs. It turned out that the picture was actually a skillfully hand colored phntograph printed on cotton stock and adhered to a board before it was matted and framed.The first thought upon this discovery was that the picture was the work of the best known exponent of painted photo landscapes, Wallace Nutting. Alas, the indecipherable signature was not the distinctive Nutting flourish. A nice piece of work from an unknown hand, the tinted photograph was worth around $75. If it had born Nutting’s signature, it could have fetched at least twice as much.In his day, Wallace Nutting (1861-1941) was among the most popular and prolific artists working in America. By his own estimation, millions of his fanciful photos were produced into what became a cottage industry for the man who started out as a preacher.Along with lithographs, hand-tinted photographs were an affordable way for the growing middle-class to add art to the walls of their homes. These mass produced works on paper brightened the lives of Americans who could not afford to commission or purchase original paintings. During the early 20th century, modestly priced hand-colored photos created as art was a unique concept distinct from the mechanically reproduced prints on the market for the general public. Hundreds of artists and illustrators were creating works, reproduced for magazines and periodicals, calendars, books and advertising markets. These works were fashioned to sell a product, not the artwork. Published in disposable formats, many of these pictures were quickly lost. But some of the images became popular and were then reproduced as inexpensive framed art prints. Maxfield Parrish (1870-1966) is a classic example of an illustrator for the trade who went on to be published as an artist.Nutting began taking photos of his surroundings on the East Coast in 1899. Inspired by what he called “a love of the beautiful,” his photographs captured an Arcadian ambiance that the natural landscape, endowed with an endless bounty of pastoral views, provided. Nutting never considered himself to be an artist. After studying theology at Harvard and graduating in 1887, he became a Congregational minister. In 1893 he was awarded a doctor of divinity but his life as a cleric was cut short when at the age of 43, plagued by ill-health, he reluctantly retired from his ministry.He pursued his photography and in 1904 founded the Wallace Nutting Art Prints Studio in New York City. A year later, he relocated his enterprise to a farm in Southbury, Conn., dubbing it “Nuttinghame.” By 1912 he had moved again, this time to Framingham, Mass., where he settled permanently with studio and home and called it “Nuttingholme.” He employed up to 200 colorists, who were hand-painting photographs of what became the Nutting signature style of softly lit photos of hearth and home.Nutting is regarded as being the influence behind the early 20th century revival of the American Colonial style. Typical of his interior scenes would be a woman seated by a fireplace, dressed in colonial attire, crafting needlework with the warm fire burning nearby. Cozy and inviting were the prevalent themes in these popular images. Another mark of interest for Nutting was exterior depictions of colonial facades of homes, with a woman and child posing outside the front door, dressed in fine period fashion, welcoming the viewer into their home, and perhaps into the world in a quieter time. As hand-colored photo art became popular, hundreds of photographers throughout the country produced snaps of foreign and regional travel, historic landmarks and interior scenes. As with the Nutting Studio, the presentation of the completed work usually displayed the photo mounted on a matboard support and included a pencil signature of the photographer and a title of the piece, inscribed directly below the image. Often the hand-colored photograph would be matted and framed with hand-painted embellishments on the frame.Collector interest in 20th century hand-colored photography produced between 1900-1940 is active with many treasures still to be found. Wallace Nutting remains at the top of the market in sales. Several photographers who worked with Nutting went on to establish their own careers in the genre. They include David Davidson (1881-1967), Charles Sawyer (1868-1954) and Fred Thompson (1844-1909).Davidson opened the David Davidson Studio in 1907 in Rhode Island and also produced millions of hand-colored photographs until its closing in the mid-century. Similar to Nutting in style and technical skill, he has been called second only to Nutting. The Sawyer Picture Company in Concord, N.H., thrived from 1903 well into the 1970s, surviving nearly two decades beyond founder Charles Sawyer’s death. Depictions of the state’s landscapes were the firm’s popular product. Monterey coastal scenes were also produced. The business of landscape and pictorial hand-colored photographs were marketed as tourist art. Not unlike postcards, they were of interest to travelers to the area who would purchase a hand-colored framed photograph of a local scene and display it as a remembrance of a place visited.Of the three most popular photographers competing with Nutting, Fred Thompson’s studio had the shortest course for its founder. Established in 1908 in Portland, Maine, the Thompson Art Company featured New England landscapes and tall-masted sailing ships. Not long after launching the business, Thompson committed suicide in 1909. His son, Frederick M. (1876-1923) continued operating the company until his death. The works of these four photographers routinely appear at auction. The most commonly seen are Nutting’s, which command the highest prices. From under $100 to close to $1,000 for a multiple lot, a piece of history from the Wallace Nutting Studio can be easily obtained at auction. But you don’t necessarily need to go to an auction house. Walk into most any antique shop in America and you’re likely to find hand-colored photographs from the period, some by Nutting and his associates and many more by the forgotten artisans who followed in their path.Click here to discuss this story and more in the AntiqueTrader.com message boards.

Friday, September 12, 2008

I love vintage music boxes and some of the new ones today. I find they make great collectible gifts to give to a special person or for yourself. Music Boxes come in so many different materials. There are wooden ones, ceramic ones, glass and metal ones also.

I love anything Victorian and when I come across one I tend to keep it for myself. Its hard to give it away unless its for a dearly beloved friend.

I have a few that are also unique like a ballerina in a Wooden Jewelry Box, it is in the shape of a Log Cabin, unusual and lovely. Inside is a lovely red velvet lining
Music boxes: Beautiful music boxes sit neatly on shelves and can make excellent gifts for any occasion. For example, you might choose a music box that plays Happy Birthday as a birthday present or a music box that plays Ode to Joy as a graduation gift. Young children may appreciate a ballerina music box or snowglobe music box. From simple wooden boxes to figures on pedestals that turn as music plays, you can find Franklin Mint music boxes, Precious Moments music boxes, Reuge music boxes, and San Francisco Music Box Co. music boxes that play classical tunes such as Fur Elise, Ave Maria, Greensleeves, and the Nutcracker Suite as well as modern songs and Broadway hits from musicals such as The Phantom of the Opera.

Thursday, September 11, 2008

This is a great tool from Auction Bytes, http://www.auctionbytes.com/ which is a great trade publication for online merchants. It allows you to show all of your venues where you sell on the web. You can sign up at http://www.everyplaceisell.com/.

Thursday, September 4, 2008

Today i have added this excellent rotating banner to my blog. We are a group of sellers who have joined this great forum.
here you will find many different stores, helps galore and great folks who are willing to give of themselves.
Here is a place where you can learn many good tricks of the trade, and whatever you might be looking for in Vintage Collectibles Toys Collectible Books Vintage Clothes and Vintage Linens you are sure to find your favorite collectibles.
So stop in and see for yourself what you can find and what help you might need, or maybe you can offer help in your expertise field.

Saturday, June 14, 2008


I found this article and it is most interesting on Vintage Glass Baskets

Home Page - Comprehensive Coverage in the World of Antiques » Features » Getting a handle on glass baskets
Getting a handle on glass baskets
June 11, 2008by Carrie P. Jones






This is an example of cased glass, also referred to as overlay in America. The basket’s clear glass exterior has a beaded and swirled ribbed pattern and its interior is blue opaque. Circa late 1800s/early 1900s, it is 5 1/2 inches in diameter, 5 inches high, and sells for $95. Photo courtesy of All Antique Glass, http://www.allantiqueglass.com/.

Flowers are synonymous with Victorians who could never have too many bouquets. While many of their arrangements were large and showy, Victorians were also attracted to smaller bunches of flowers placed in glass basket vases. When not being used for flowers, baskets were considered perfectly acceptable standing empty, adorning table tops. It is the Victorian period and early 1900s during which baskets flourished in America.

Glass baskets can be thought of as receptacles made of glass, with or without a handle. Or you can think of them as party dresses for flower arrangements. Some are frilly, with ruffles along the top or bottom. Others are streamlined with simple lines. Some styles are quite playful with their dots, swirls, or stripes. One example might glimmer; another might not shimmer at all. Colors can range from subdued and dignified to wild and bold. While pastels suit some personalities, others lean towards darker shades.

Fortunately, many can be purchased quite inexpensively, enabling admirers to more easily spring for them. But there is no reason to become a basket case in pursuit of these collectibles. Regardless of budget or taste, there are many waiting to be toted away … whether you want to limit yourself to just baskets or incorporate them into other glass collectibles.

Most tableware companies included baskets in their lines. Tom and Neila Bredehoft wrote in Fifty Years of Collectible Glass, 1920-1970, “The ability to press a basket with a handle attached required expert innovation by mold makers. Duncan and Miller was able to patent its method of doing this, and most companies followed with pressed handled baskets of their own.

”Some enthusiasts are interested in baskets produced by a particular manufacturer. Kathy Files, a member of the Great Plains Heisey Club, collects glass made by the A.H. Heisey Company. Although she doesn’t restrict her collection to just baskets, Files has a fondness for them and has gathered over 50. Most Heisey baskets are found in crystal, but some were made during their color period. Flamingo and Moongleam are the easiest Heisey colors to locate.

While Files has specialized in Heisey, others seek out baskets from such companies as Fostoria; Imperial Glass Company; Cambridge Glass; American Glass; Fenton Glass Company; Hobbs, Brockunier and Company; or Duncan and Miller. Those beginning a collection might check out Fenton glass. If one item would symbolize the Fenton Glass Company, it would be baskets. Their first handled vessels were made in 1939 and 68 years of basket-production followed.

During the 19th century, many a child was entertained with a nursery rhyme which began, “A tisket, a tasket, a green and yellow basket.” However, collectors aren’t limited to green and yellow baskets. Open any book about this topic and you will be mesmerized by the rainbow of colors stemming from the late 1880s and continuing well into the 20th century. Color is certainly one collecting category. Some choose to gather all sorts of glass items, including baskets, in their favorite color. Others have eyes only for baskets.

Do you wander towards cranberry, ruby or a more timid pink? If you’re drawn to blue, perhaps you’ll choose cobalt, sapphire, or pastel blue. Maybe you lean towards violet and purple. There’s also black, but there’s nothing basic about it. Manganese and powdered charcoal were added ingredients for making black glass. Many items considered black are actually purple or green, made extremely dark from extra manganese. Maybe you don’t want any color at all, choosing instead to collect clear pressed glass baskets.

If you are dazzled by crystal of the American Brilliant Period (ABP), study closely to ascertain it’s genuine, circa 1880-WWI . Newer glass has ridges (from diamond wheels) and its teeth have sharp points; ABP has blunted teeth and no ridges. Authentic ABP handles were applied to the body, unlike one piece helmet-shaped reproduction baskets.

Opalescent glass is a category of baskets worth checking out. Enthusiasts of this glass, especially of items from the period 1880-1930, rank in the thousands and blown opalescent is their all-time favorite. Cranberry opalescent is the leader of the pack, but there are other choices nipping at its heels. In Standard Encyclopedia of Opalescent Glass, Bill Edwards and Mike Carwile wrote how this unique glass was made when two layers of glass, one colored and one clear, had been fused so the clear areas become milky when fired a second or third time. The clear layer is pressed “so that the second firing gives this opal milkyness to the outer edges.” Look for baskets with good milky opalescence. Edwards and Carwile believe that the opalescent glass produced by Duncan and Miller “most impresses collectors today.

”Glass basket collectors often hone in on specific patterns, and there are many. Perhaps a special aunt favored Fostoria; your quest may be to acquire her pattern. First Love, the most recognized of Duncan and Miller’s etchings, might touch a heart string. Collectors with names of Cleo, Diane, Elaine, Gloria, or Janice can let their baskets introduce themselves.

If Rose Point by Cambridge Glass attracts you, Gene Florence (Elegant Glassware of the Depression Era) suggests also looking at their Daffodil pattern. If daffodils don’t appeal, you might gather a bunch of their Wildflowers. Pick Heisey Orchids though and you’ll need to dig deep into your wallet.Those most excited about fun designs will appreciate the parrots on Tiffin Glass Company’s Jungle Assortment. “You do not find this [pattern] every day,” wrote Florence, telling of “the difficulty over the years keeping those parrots from flying off their perches.”The reason for a pattern’s appeal can be as varied as the availability. But more often than not, it boils down to this: You just like it.

How about Goofus glass baskets? The years roughly between 1897-1925 was the peak production period for when companies were creating Goofus glass by applying paint to already completed pieces of pressed glass (rather than firing it on). In his essay Goofus Glass: That Beautiful Old Stuff, G. David Ballentine speculated that blanks were purchased from manufacturers, then “gussied up by decorating houses for resale.” According to Ballentine, Goofus glass was originally marketed with such as names as Egyptian Art or Golden Oriental. “Somewhere along the way, however, its glamorous reputation became tarnished.” (Undoubtedly when the paint started coming off.) Decades later, Goofus glass has people eagerly searching for what Ballentine describes as “a real piece of Americana if there ever was one.

”Turn to Crackle Glass from Around the World, by Stan and Arlene Weitman, if your basket collection isn’t what it’s cracked up to be. Add some pieces created by glass blowers who intentionally made their glass fracture by plunging the hot glass into cold water, then quickly pulling it out. Reheating afterwards sealed the cracks. This process might have been done before the desired shape was blown or afterwards. To make cracks finer, the piece was rolled in sawdust before being plunged into water. Carbon formed by the sawdust protected the glass from deeper cracks. Pieces with large fissures are of equal value to the finer crackled ones. Crackle glass was first created by Venetian glass blowers as far back as the 16th century. It reappeared in the late 1800s and early 1900s when the process was copied by Bohemian glass makers. (Look for Moser’s beautifully hand-painted, crackled glass.) Between 1930-1970, there was a lot of glass being crackled in the United States, with over 500 companies producing it during this period.

If the above stimulates interest, also seek out overshot glass baskets. To make overshot, the gob of hot glass was rolled onto finely ground shards of glass, then blown into the desired shape. Another way of production was to blow the desired shape, then roll it onto shards. Pieces made by the latter method are often sharp to the touch. Frequently overshot glass was also crackled, but those are two different creation processes. Baskets of Milk glass and Custard glass may sound good, but how about Vaseline? Observe Vaseline glass glow under a black light to understand why many collectors acquire a taste for this transparent glass made with uranium, which is what gives it its green fluorescent color under UV light.

Most manufacturers made baskets in graduated sizes from those of a couple inches to the larger of more than a foot. Enthusiasts often collect just miniatures of different companies, patterns, and/or colors. Glass baskets have an ageless popularity, so are still being made. If you desire antique, do your research to confirm the piece you’re acquiring isn’t new.

Also when buying, keep in mind there are different methods for measuring baskets. Some manufacturers measured from rim to rim, others from base to rim. Some people measure from base to top of handle. If not purchasing in person, inquire how the basket’s size was determined.
Glass baskets have been made in all types of glass, in all kinds of shapes, and with all sorts of embellishments. With so many choices, making a decision about which to collect need not be overwhelming … once you have a handle on all the delightful possibilities.

Check out those handles!

A basket with a “stuck handle” has a handle which was applied after the piece was mold-blown. The handle was “stuck on” while the glass was still hot, then left to cool freely in ambient air. It was not annealed. According to Glass A to Z, by David J. Shotwell, the annealing process is where glass is heated to a temperature just below the point where flowing begins, then held at that point until it has reached that temperature throughout. It is then cooled slowly. Shotwell finds handles applied by the latter method suffer less stress. The areas where handles have been joined should be carefully examined for cracks before purchasing.









Saturday, January 12, 2008

Hi and Happy New Year to all from out-of-the-attic-4u










Things have been great this past year and hoping it will even be better for this new year coming. So many things have been happening for me. I did good in my auctions and hope to do better.




I met many new people here and on the net.

I aquired a new web site that I won from epro sales. Its my own lil niche, come and take a look.


I am looking to make a banner for this site to promote it across the net. If anyone has ideas or would be able to make one for me, I am open for suggestions and price.


I added a few new items to my website and will show you a few of them.










There are a lot more on my ebay auction store that you should have a look at.
http://stores.ebay.com/OUT-OF-THE-ATTIC-2U

I will be going to Florida in Feb to see the Sunshine since here in PA its just about always dingy, drab and ugly. We were hit with a lof of snow and ice and I need a break.
Although we did have a few days of high 40's and 50's, which BTW melted all the snow, woohoo.

I can't way to travel and change the secenic view of mountains to ocean. I lived in Florida for over 30 years, (please don't ask why I moved to PA) ( it was probably menopause)

Well things are looking up and I will be adding more in the future days ahead. I am new to these blogs and don't even know what I am doing.