Counter at 19 Toronto Street from the early 1900s. Note the new electric post lights on the wickets.
Toronto Hat store in the 1930s/40s. Love those black and white Art Deco Pendants.
Eaton's College Street Lighting Department featuring Art Deco lighting.
1919 photograph from a house on Madison Avenue in Toronto. Nice late Victorian early electric fixture hangs in the room.
1920s picture from a house in High Park. New Neo Classical candle arm pan light hangs in the center of the room.
Bloor and Yonge in the 1920s. All of those old signs would have been illuminated at night. Pure magic.
Toronto Interior from around 1910-20. Lovely Neo Classical wood and gesso dome hangs in the center of the room.
Toronto hospital from the 1920s-30s. Note the school house globes and early electric reading sconces above the beds.
King Street in the late teens early 1920s. Stunning old lamp posts once adorned this city.
Albert Street next to the Eaton's complex. Great example of an original street light.
Consumers Gas lighting showroom circa 1910. Gas lighting was trying to complete with the new electric light. Neat to see original gas street lights next to a new electric street light.
Two fingers of whisky....neat. Bar at the Lakeview Hotel on Parliament St with original gas lighting
Check out those combination gas electric chandeliers.
New electric lighting in Toronto's first skyscraper. The Forresters Building.
Photo from around 1910. Lighting and plumbing shop at the corner of King St W and Dunn Ave in Parkdale.
Shop lighting over the produce at Carlaw and Danforth from the 1930s-40s
Electric lighting showroom at Carlaw and Gerrard in a Toronto Hydro building.
Late Victorian interior from a house on Madison Avenue
Queens Hotel interior from 1920. Originally sat at the site of the Royal York hotel.
1929 lobby of commercial building on Bay Street
Rooming house from 1912. The single J arm gas light in the center lit the entire room.
Art Nouveau interior of the Walker House hotel from 1913
Interior on Adelaide Street from around 1910. Note the Victorian plaster medallion is missing its gas light and the new electric light sits next to it.
Rooming house on King St. Single gas light hangs at the back of the room
]]>
A lot has changed since we started in 1976. Antique lights get older, aesthetic styles come and go and electrical standards carry greater importance than ever before. When it comes to new or old lighting hardwired into residential and commercial properties in Canada, electricians and inspectors require as certification sticker in order to pass the lights on or before installation.
The main certification bodies are CSA and UL which are recognized both in Canada and the US. If you are thinking of buying an old light from a person/dealer or a new light online make sure they are certified and up to code. If not, you will have to budget for a rewire and certification. If they are not certified and you bring them to your electrician anyways, do not be surprised if they are rejected and subsequently your is project delayed.
We do a lot of rewires and CSA certifications. We often get asked if we can just slap a sticker on and existing light it to pass it and the hard answer is NO. Regardless if you electrician or another store/dealer has rewired it, we cannot and will not certify another persons work. As per our CSA licence the entire light has be rewired with CSA approved and CSA marked components in order to be certified. This is not only to ensure it complies with CSA approval but also ensures that the job is done correctly, is up to code and that there will have no issues over time.
]]>
So how much is it worth?
Who is it made by?
Tell me, tell me, tell me!
We get a lot of requests to evaluate lighting and are flattered that people come to us for our expert opinion. Unfortunately we can't always give you all the answers you want for a few reasons.
Value is Complicated
The same lamp can be sold for $5 or $5000 dollars depending on who is selling it and where. The price of that lamp being sold privately in as-is condition will differ from a restored light from a reputable dealer that has rewired or restored it. When we look at value when doing an appraisal, it is for market value in the event it needs to be replaced for insurance purposes. If you are trying to establish the value of your lamp to sell privately, temper your expectations to the market you are trying to sell it to. Asking full retail for a light on Facebook marketplace isn't going to sell it quick (or at all).
Identification
Most and I mean MOST old lights were not signed. There were so many different manufacturers of lighting and parts and only the high end makers (Tiffany, Handel, Bradley & Hubbard etc. ) signed their pieces. If you see a number on a lamp base or a pat'd pending mark that is something (model or foundry mark) but its not generally a definable mark of who made it. Old lighting catalogs are the best source to track down the makers and there are many digital copies online. Do some research on other sites too. Dealers may have done the legwork and identified the light if they are trying to sell it in their store or online.
Appraisals
If you feel that you have a high end light and its a family heirloom or a piece that needs to be catalogued for insurance, an appraisal is always worth it. We provide a written report detailing the age, provenance, potential maker, historical significance as well as an estimated value.
Free Evaluations
Unless we are working on a customers light or doing an appraisal, we do not provide free evaluations. Not to be rude, but we just don't have the time to research your light and impart almost 50 years of knowledge for free. If you are looking to sell it, do some research and find the right place to sell it for what you feel it is worth.
Final Words
Its cool to know what something is and what its worth but most importantly.......just enjoy it. These are things that have a rich history and beauty and although some are traded like commodities (Tiffany) at the end of the day, they are decorative objects that should speak to you.
]]>
Having worked on a variety of historic projects (link) over the past 47 years, we've been fortunate to work with a talented and dedicated array of home owners, curators, project managers and historians. These bigger projects are multilayered and often involve balancing the needs of history, aesthetics, functionality and budget. We can't cover everything that goes into a restoration project but do want to address some of the most important aspects of them.
History vs. Functionality
This is one of the most important aspects of restorations especially for public buildings. As pretty as old lights are, they were always made to be functional but their original light output was limited by the technology of the era. Gas, oil and early electric lighting was very dim and lighting output didn't increase until the 1920s-30s. Whether we are supplying or restoring pre existing antique lighting fixtures we always ask how much light the client wants from the fixtures and or what will the room be used for. It's important that is be decorative and functional. You can't lead or take a tour through a museum if you can't see. Antique lighting is very adaptable and modern LED technology allows for functional lighting without sacrificing beauty and form.
Refinish, Restore or Rewire
Rewiring and CSA or UL certification is a given and has to be done on any antique light that is going into a historic space. When it comes to the finish, if they original finish is in good condition and just needs a mild cleaning or restoration to preserve it for another 100 years then we always recommend that route. If the finish is too far gone or covered gold paint, refinishing is highly recommended. In many cases, the original finish may be hiding underneath those layers of paint and we can often restore or recreate it once we see what's there.
Expert Opinion and Lighting Plan
For large scale projects with historically sensitive lighting, its best to get a lighting and restoration plan by a historic lighting expert. Architects, lighting designers, engineers and art historians are all knowledgeable professionals but do not have expertise in historic lighting. When we devise lighting and restoration plans, we outline the history, restoration options and recommendations, electrical requirements and budget required to successfully complete the project. For multi year projects with capital and budget requirements, we'll isolate which areas and fixtures need immediate attention and work with curators or projects managers to complete the project based on their timing and needs.
On Site Restorations
These are a big NO. You wouldn't fix your car while driving it? Same goes for lighting fixtures that are installed. Whether we are rewiring or restoring a light, it has to be taken down and brought into our shop. We have specialty tools, machinery and methods of wiring and restoration that cannot be done on site nor should they be attempted. Further more, there is greater risk, danger and associated costs of restoring lighting onsite then in a controlled environment. We have had to fix so many botched onsite restorations where the lights were never properly cleaned, wired or certified. On site restorations can leads to greater expense and headaches for the client and unless its an extreme instance, it should not be attempted.
We've worked on projects from Los Angeles to St. John's and everything can be shipped with ease.
New vs. Old
We try and restore or provide as many antique or period pieces as possible but there are instances where original lighting is missing in quantities or where budget is a factor. As a result, we fabricate various lines of reproduction lighting and customize them to fit the space. If budget allows we can design and make custom fixtures dating from 1850-1940 or recast and remake originals if there is one existing.
Team Work
Working with different professionals and trades is one of the best aspects of historical projects. Each brings skills and experience to the job which helps things run smoothly. We couldn't have completed many projects without the dedication and assistance of electricians, contractors, curator, home owners s and project managers. Made some life long connections as a result which makes it all worth while.
Final Words
Historic projects are all different and always provide a unique set of challenges along the way. Above all else, they are rewarding on both a social, cultural and historic level. With so many old buildings being torn down and the history and beauty that goes with it, its important to preserve what we have for future generations. People are not going to be inspired by McMansions or sterile glass boxes but they will always be mesmerized by the beauty of an old building brought back to life.
]]>
Buying antique and vintage lighting can be like buying a classic car. You may get a inexpensive light that needs substantial work and money invested into it or you may pay more for a classic original or restored gem. Either way, you have to inspect them closely, ask a lot of questions if necessary and do your homework.
Like any other industry, there are a lot of unscrupulous dealers that say something is perfect when it is clearly not. From issues with poor or old wiring, condition, missing or broken pieces, the list goes on and we've seen it all. If you are buying them "as is" for a restoration project its not a problem as they will be dealt with when restored. But if you are spending good money on a light that is supposed to be ready to hang or plug in, here are the things to look for.
Wiring and Sockets
This is one of the most important things to look for. If there is original cloth covered wire, speaker wire (not joking) burn marks on the wire or thin gauge wiring you will definitely need to have the light rewired to modern standards. In Canada most electricians will not install them unless they rewired and certified (which we do) with either a CSA or UL sticker. Same goes for the sockets. If they are old brass shelled sockets, check the liners for wear and burning which is common. They will have to be replaced as well. It's not that it's a bad light, it just needs to be updated for modern use. You might get a better deal if you address these issues with the seller. If not, reconsider your purchase.
Condition
Check the over all condition of the light and look for missing pieces such as castings, screws, ceiling canopies and associated parts. If the light is spun brass, check for metal fatigue (looks like cracks) on the center body or arms. If the light is white metal or pot metal, be very careful to check for damage as it is expensive to repair or replace castings. Also check to see if it has the proper mounting hardware, ceiling cap (that covers an electrical box) and, is there are glass shades, check for any cracks or large chips that will affect its integrity.
Finish
A lot of lights have been refinished which often gives them new life and can enhance their appeal. If they have been polished ask if they were lacquered or waxed too. There's nothing worse than having to polish a chandelier every few years and lacquering will prevent that. Original finishes have an interest and charm all their own and if they are in great shape best to leave them as is. You will know an original finish as it has developed a patina and wear congruent with their vintage. As for plated lights, they are as they are and re plating them is becoming a challenging option as time goes on. And.... if you find a light that has been painted black, white or radiator gold as is being passed as original......pass.
Glass
There were lots of different glass shades, panels and inserts made for lights and its important that they are all there and in good condition if you are paying a premium for that light. Dealers will often say “ its easy to replace” or “not a big deal to find one” or “just turn the crack to the back” in order to make the sale. IT'S NOT. Old glass is one of the biggest challenges if you are just getting into this and unless you have a network of dealers and shops to help you, it is very expensive and time consuming to replace. If the light has a set of shades, make sure they all match and check for cracks. Small chips around the fitter are fine and if the shades look new...ask. Nothing wrong with reproduction shades if the quality is good but the dealer should disclose that. Coloured glass panels can be challenging to replace and if they are curved they are expensive to have remade. And if an 1930s Art Deco slip shade light is missing a shade......pass.
European Lights
I could write a book on these but I will keep it short. If you are on vacation buy one overseas ...... don't be surprised that it won't work here even though they say it will. The UK and Europe work on 220v systems and they have different wiring and installation requirements then in North America. Be prepared to have it rewired and know that it will be more expensive than a standard North American fixture. When we rewire them (which we do often) we have to change their metric components to Imperial (fit sockets, mounting hardware etc) and run our North American wiring through the (often) narrow wire ways. It can all be done but keep the above in mind when you want a souvenir to light up your dining room.
Final Words
This isn't meant to be a deterrent but instead an education in what to look for and how to go about buying a really cool antique or vintage light. If there are issues with them that you see and they don't disclose you know to either walk away or haggle on the price to get a better deal. At the end of the day no body likes being taken advantage of or being lied to. We've been in business for almost 50 years because we believe in honesty and transparency. When a light leaves our shop, we want our customers to be excited by it and love it.
]]>
Ancaster Old Town Hall is a landmark historic building located on Wilson Ave East in the heart of Ancaster. Managed by the City of Hamilton, the 1870s edifice is a popular, versatile venue that hosts weddings, celebrations and community events. The objective was to restore the existing chandeliers, compliment them with custom designed lighting made by us, retrofit the lighting for LEDs and make it bright!
Consultation:
First we had to conduct a site visit to examine the existing lights and make recommendations for new lighting in surrounding areas. The 2 chandeliers dated from 1910 and have presided over the community for over 100 years.
Hanging 15' up in the air, detailed photos were taken and analyzed for restoration. We used our experience to determine the construction of the lights, the condition of the finish and prospective ways to increase light output through the discreet use of LED lighting. Lumen requirements for LED's were measured by calculating the total square footage which gave us parameters on which bulbs to choose.
Behind the Victorian arch on the main stage, there were 4 book matched locations for lighting. 2 of the locations were ideal for smaller chandeliers to provide general lighting for intimate events. The other 2 acted as spotlights meant to be used for plays concerts and presentations. Butting up against original plaster crown molding, the spot lights would be a fun challenge to design while the other 2 chandeliers had to be complimentary to to the main chandeliers. Everything was to be in made of solid brass for quality and finish.
Proposal and Quote
Once we complied and analyzed all of the information from the site visit, we condensed all of the information into core requirements. They were:
Historic sensitivity
Light output
Longevity
Environmental and energy requirements/savings
Quality, pride and budget
Multiple options were presented to the City detailing lumen requirements, restoration options and lighting fixture choices accompanied by photos and renderings. Because it's an expansive public space and the chandeliers are hard to access, LED lighting was recommended on all of the lights. They provided:
70% greater brightness
10x longer life from light bulbs (30,000 hours over 3000 hours)
90% energy savings
Labour savings (do not have to change bulbs as often)
Warm colour temperature quality from LED filament bulbs
The City of Hamilton choose one option that incorporated high intensity COB LED's discretely placed in the chandelier along with decorative LED bulbs on the perimeter. Complimentary bespoke lighting was chosen for over the stage including LED spot lights handmade out of brass and finished to match all of the other lights.
Pick up and temporary replacements
Given that the hall was in constant use during wedding season, we supplied period reproduction lighting from our Custom Collection. They were altered to suit the hall and illuminated with the same LED filament bulbs specified in the proposal. The original chandeliers were cataloged and brought to the shop to visit the restoration doctor.
Restoration and Manufacture
Restoring lights is full of surprises. These were no different. Garland, garland.......lots of garland. It was Christmas in July with ancient remnants of decorations past.
Disassembling was straightforward and there were no areas of concern with dents, damages, breaks or splits. Where required, we do all necessary repairs including soldering, brazing and small sand casting to replace parts. High quality in their day, these chandeliers were commercial grade and wonderful to work on.
Our master finisher handled the 36” spinning's on the high speed polishing wheels where 35 years of experience was put to the test. The result was an incredible antique brass finish replicating a period finish from the era the lights were made.
Insetting the LED's was a little more challenging as we had to discreetly hide the lights, hardware, and driver in the core of the chandelier. Attention to detail, balance and functionality were key. The end result was utilizing the existing structure to mount the LEDs and accompanying heat sinks.
Custom spotlights were created from the drawings in the proposal. They were to match the finishes of the chandeliers, use high powered PAR 30 LED bulbs, be adjustable and fit in a confined space.
For over the stage, our Custom 5 Light Wakefield was an ideal match for the 2 chandeliers and spot lights. Handcrafted out of brass, everything was of the same finish and quality.
Delivery and Installation
Taking something down is easier than putting it up.
We like to make things easy to put up.
Instead of being 1 unit, the chandeliers were separated so they could be installed in 2 pieces. Easier for electricians to handle and less room for error or damage.
When installed and illuminated, they were pure magic. The center light LED's illuminated the room and having the 2 sets on separate switches meant the light levels could be adjusted to suit any mood.
Conclusion
Large scale restoration projects are a detailed process but so very rewarding. The City of Hamilton was ecstatic with the restoration, placement of LEDs and functionality of the lights. From start to finish we worked with the City to update them on the status, coordinate with the electricians and deliver on time and budget.
The end result was nothing short of awesome. We do a lot of retail client rewires and restorations but it's challenging commercial lighting projects like this that we love. Thank you Carolyn Samko and everyone at the City of Hamilton for giving us the opportunity to be apart of the history of Ancaster Old Town Hall!
]]>
We love restoring lighting for historic buildings and houses and have been doing it for over 30 years.
While going through some old photo albums, we came across one of our first notable jobs which was the lighting restoration work we did for Spadina House (Toronto) in 1983. For those that don't know, Spadina House is a landmark museum/historic home that was once owned by the Austin Family (Consumer's Gas, Austin Terrace) and is now operated by the City of Toronto as a museum. Although it sits in the shadow of is grander neighbour Casa Loma, Spadina House is a way better museum that offers a glimpse into an authentic family home spanning over 150 years.
When it was bequeathed to the City in 1982 by Anna Thompson, the house was a time capsule with original interiors, furnishings and lighting dating from the 1880s to the 1940s. In need of restoration, we were called in to handle all of the lighting except the crystal gasoliers in the main parlour. From Eastlake to Art Nouveau, the lighting was high end for each time and very rare.
These are some snapshots of the fixtures in there as found condition. All hanging on the ceiling prior to us restoring them. They are all still present in the house and incredible to see today.
This is ones of my favourite chandeliers of all time. Originally gas, its from the 1880s and the porcelain center is exquisite. Love the arms with hands holding the lights with the gas keys underneath. Was most likely wired in the 1920s judging by the clip on shades. We restored the original finish and fitted the gasolier with period shades. Currently hangs in the front hall.
This paneled glass opal dome was originally gas even though it was made to look like electricity. It would have been sacrilege to have electric light in Spadina House as James Austin was the head of Consumers Gas.
The 1880s gasoliers in the main parlour are just as nice then as they are now. Real show stoppers with their original etched crown top shades and crystal. One of the few gasoliers that has never been converted to electricity as they still are illuminated with gas to this day.
Another great example of as gaslight made to look electric. In this case, it was electrified but only externally. You can see the wire taped to the side of the post with the gas on/off shut off valve above the dome.
Detail from the ornate billard light hanging above the pool table. The chandelier dates from the late 1890s but was retrofitted with Welsbach and green opal shades in somewhere around 1915. Looks like the shade hadn't been dusted since then as well.
]]>
Like most of Toronto, the past 20 years have resulted in an amazing amount of change in our neighbourhood. The city has grown up, grown out and grown expensive. It's exciting to watch as it is to be apart of. Although it pains you to see certain changes or lose certain neighbours, you have to embrace it all the same.
These are just some of the many snapshots we've collected from our Toronto base. They mainly focus on Sherbourne Street, Britain Street, George Street, Richmond and Adelaide. Mainly from the 70s, 80s and 90s, a different Toronto is reflected. There's not as much polish then as there is now and that makes it all the more interesting. Hope you enjoy!
Our new digs at 112 Sherbourne St being renovated in 1988. Although we currently occupy all three houses, the first two were bought in the 80s. We were at 118 Sherbourne before in what is now the Harris Institute.
That's us with The Door Store and the Glass Studio at 118 Sherbourne. Was a great location and a great old factory as well. Now home to the Harris Institute.
Sherbourne Street looking south from Richmond St East in the early 80s. Now Studio City, those factory complexes once made pianos. Heintzman pianos to be exact! You can see the outline of "PIANO" in between the second and third story window. The fence marked "Honda" is now a condo with a Tim Horton's on the main floor.
The former home of Waddingtons Auction House on Queen St East in 1982. Now converted into hard loft condos, the gallery was a major anchor for the Queen Street East antiques scene in the 70s, 80s and 90s.
The north east corner of George and Britain Street in the late 70s. Great old factory building that housed a mechanic, apartments and a photo lab. Still standing, the building is now home to Design Lab and Sarah Richardson Designs. It's altered but still there!
If you drove by the corner of Sherbourne and Richmond now, you would not ever recognize this photo. Looking south down Sherbourne Street, the Imperial Lofts building was yet to be converted and parking was like City TV in the 80s......Everywhere. Now two large condo's anchor the corners.
Lofts from $115,990......in Toronto? Loving the 90s font on the Imperial Lofts sign.
The corner of Queen Street East and Shebourne in the late 70s. Check out those land yachts! Surprisingly. the corner still looks the same and is as colourful as ever.
Sherbourne and Britain Street in the early 90s. Remember the "depot" craze for businesses? Corner still looks the same but Britain street is remarkably different.
]]>
Choosing a chandelier or ceiling is a decision you only make a handful of times in your life so it's important that you get it right. Once you settle on style and scale, the next big decision is height.
How high off the table should my chandelier hang?
How low should my light hang?
Whats the right height for a dining room?
Everyone has different ceiling heights so there is no “standard” length for a fixture. Instead there are useful guidelines that will help you make an educated decision.
First things first.
Take your measurements.
Measure floor to ceiling to establish an overall height and write it down. Then measure you table, top to bottom. These two measurements are going to help establish the height you need to hang your chandelier. It's recommended that you hang your fixture 32-34” off the table. This allows you to see across the table while providing ample room light and a good look.
The formula to establish the right height is this:
Ceiling Height – Table Height – Off the Table Height = Chandelier Length
If your ceiling height is 9' ( 108”), your table is 30” and you want to hang it 32” off the table here's what it will look like
108”(ceiling height)- 30” (table height)- 32”(OTH) = 46” Total Length
1920s 4 light pan over a dining table
Hallway and Room
7' of clearance is the recommended clearance height with any hallway or ceiling light as you never know when your going to be hosting a cocktail party for retired NBA players. Kidding. Well about the cocktail party anyways. Seriously, 7' is the recommended clearance for the sole reason that it doesn't interfere with doorways and looks good in proportion to 9'-10' ceilings. If you have 8' ceilings, you can cheat it a bit by having 6'10” of clearance or a bit lower if there is no door or lumbering giants nearby.
Lantern hangs just above the door frame
With bedrooms or living rooms, you may find you have more play with the length if the light is anchored over a bed, sofa or there is no walk through traffic underneath. A couple of inches can make a big difference when it comes to more decorative lighting where form is just as valuable as function.
Kitchen Island and Pendant Lighting
Getting the right height for pendant lighting over an island is essential as it serves both form and function. Too low and your staring into them while trying to have a conversation. Too high and they are spotlights interrogating you and your meal choices.
We like to use 36” off the counter as the recommended island height as the pendants sit just above eye level and provide great light without seeing the light bulbs. There is always a 2-4” variance in the measurement depending on the light you choose but 36” is the benchmark. Much like the dining room light, you can use the following formula.
Ceiling Height – Kitchen Island Height – Off the Island Height = Pendant Length
Most islands are approximately 36” tall but its best to take your measurements so that everything is exact.
Pendants 36" off the counter top
Unlike “out of the box” lighting shops, all of our lighting can be altered and adjusted to suit your space. Whether its lengthening or shortening a dining room light, flush mounting a fixture for a hall or making pendant lighting over an island........we believe in getting it right so it looks perfect.
]]>
Featured in this post is the 1929 R.F.Wilton Electric Co. Catalogue from Toronto, Ontario. Located at 124-128 Richmond Street West in what is now an awe inspiring parking bay for the Sheraton Hotel, the R.F. Wilton Company was a prominent retailer and distributor of electric lighting in Toronto. They occupied 3 addresses of prime retail space in Toronto’s downtown core and directly competed with large companies such as Simpson’s and Eaton’s located a bit further east along Yonge St.
Wilton offered a wide variety of lighting as seen in the 1920s pan lights, Tudor revival lighting and modern Art Deco designs. Strictly a retailer, they would have ordered their lighting from factories in Canada and the US to sell locally. We’ve seen many of the same fixtures from other company catalogues as wide spread as Philadelphia to Los Angeles. Inside the catalogue is an order form as well which would allow consumers to select the finish, quantity and length of the fixture they desired. With prices ranging from $3.00 for a hallway fixture to $15.00 dollars for a dining room fixture, the lighting carried appealed to a mass market and middle class. We make joke about the prices then, but $15.00 was the equivalent of $300 now.
Over the years many of these lights from the R.F.Wilton Co come into our showroom from old homes all around the city. They’re usually covered in white house paint or worse, and are in definite need of a refresh. We love working on them as they provide instant links to a homes past and homeowners are really pleased to see what would have been in the house in 1929.
In my mind, the most interesting part of this catalogue is not necessarily the lighting inside but the link to Toronto’s past. The catalogue was printed in 1929; the tail end of the roaring twenties and the birth of the great depression. Electric lighting was a huge technological innovation that everyone scrambled to acquire and the twenties were the true age of electricity and innovation. From lighting fixtures to light sockets, its fascinating to see what was modern at the time and the selecting of lighting people had before them. When I’m walking around the city and see a nice cast iron porch light that’s been there for 90 years, it doesn’t look tired or dated. Instead it looks proud and stoic. A small but illuminated link to both the home and Toronto’s past.
]]>
Many antique lighting fixtures were created as plain, or embossed plates out of brass that replicated the decorative elaborate ceiling medallions of the previous era. These type of fixtures are fantastic as they give a lot of light with multiple sockets, but also create a visual focal point. Below are examples.
The beauty of our Handcrafted Custom Close Mount Fixtures is the versatility. Below, a three light Lambton fixture in our Brown Patina and Wax could work well in a hallway, while the same Lambton fixture in Bright Nickel could look work in a bathroom in the same home.
Sometimes a Fixture that gives great light, but is a bit smaller is neccessary. A single light close mount fixture can work well in these situations. A small fixture with a beautiful shade can give great light, and work with other lighting in the space.
If you are looking for a light that is unique, fun, and stands out even though your ceiling height is lower, there are many fantastic fixtures that can fit the bill. We are always sourcing these type of fixtures, and below is a small taste of the different fixtures that work well with an 8'-0” ceiling.
Many options are available for spaces with lower ceiling heights whether the space is small, or large, simple or decorative.
Below are two sections of our website dedicated to both our custom close mount lighting fixtures that we create, and antique close mounts that have been restored by us. As always keep checking our new additions for our newest items in the new arrivals section of our website.
http://www.tocl.ca/collections/custom-collection-flush-mounts
http://www.tocl.ca/collections/antique-flush-mounts
http://www.tocl.ca/collections/new-arrivals
]]>There are so many styles, influences and histories involved in old houses that the process of choosing a light can be overwhelming. To top it off, when you mix your personal tastes the process of choosing a light can come grinding to a halt because people are afraid of mixing what they like with what they live in.
My best piece of advice to every client is to choose something that they like. It’s their house and they have to enjoy every thing in it as much as possible. I used to be a real historical purist when it came to homes and would mainly guide clients to period fixtures for their period homes. Some would be really interested and jump at the chance to own something of the era while others leaned towards more modern fixtures 60 years newer than their 1870’s Victorian house. Although it may seem odd to put an Art Deco light into a Victorian home, its actually not.
In fact, it’s very historically accurate.
As I mentioned before, old homes have had a variety of histories. From the people who lived there to both the major and minor changes that have been made to the structure over the years. Tastes and interiors changed and so to did technology. Electric lighting brought about new styles and designs and homes that were converted from gas to electricity often had the newest lights to reflect those styles. We’ve often seen original houses from the turn of the century fitted with all Art Deco lighting because those were the first electric lights ever installed in the house. The same goes with cast arm fixtures or just about any other electric fixture available.
When doing homes that were originally electric, the style is not quite as diverse as there were certain fixtures made for certain styles of homes. In Toronto, we have a plethora of Tudor revival homes, which was the style of choice for many of the 1920s “suburbs” now within the heart of the city. The Tudor and gothic style can seem very heavy and castle like which is appealing to some and oppressive to others. For clients that want more of an updated look with a period feel, we recommend using lighter finishes on the lighting. In some cases we’ll restore their period lighting that came with the home while in others we’ll select antiques and reproductions from our showroom. Finishes like satin nickel, burnished and highlighted brass and antique brass have a rich but lighter appearance that compliment more contemporary designs while also having a period feel.
Also with older historic homes, what you see is not necessarily what you get. Many have been gutted or drastically transformed over the years with only remnants of their formers selves. Purists will bemoan this fact and often try and bring the home back to what it once was. For this you have my full respect and support as you are doing a huge service to the house. But for those that like the way it is, there are a lot of possibilities inherent on the walls and ceilings. Because you have a blank canvas, treat each light like a piece of art curated in a gallery. You can chose from different, styles and finishes and the only limitations are your budget and imagination.
To learn more about various historic styles, make sure to visit our lighting style guide.
Also, if you have any specific questions regarding your house or a certain style, do not hesitate to email me.
Guide to Buying Antique Lighting
Antiques carry presence, history and craftsman ship that is rarely seen today. They are treasures to be loved, cherished and hunted for and one can’t help be amazed at the uniqueness of their design. There is a reason that people are drawn to antiques and that reason goes beyond the fact that they are old or potentially valuable. Instead the reason can be traced to what they are, how they have survived after all of these years and the personal meaning they may carry towards owners or prospective buyers.
Then there’s the hunt.
Any well seasoned antique hunter or new person to the market knows how much fun it is to hunt and find the right thing they were after. It’s not just buying something….its finding something. Something unique and wonderful that no body gets to own but them.
But for every treasure out there, there are at least ten wrecks out there that should be avoided.
From antique furniture to lighting, there’s a 50/50 chance that is has been altered, repaired or fiddled with in some way. Professional jobs are hard to spot and for good reason. Good repairs or alterations do not necessarily alter the value of the piece so much as just protect what is there for a hundred more years of enjoyment. Of course this depends on what it is and certain items carry higher values in their original state whether they are damaged or not.
Bad repairs though……they can be more hassle then they are worth. In my lifetime’s worth of experience in dealing with antiques, I have seen just about everything. From painted chewing gum to patch up holes to “rewired” lights done with speaker wire. I am amazed and confounded at the cheapo lengths DIY’rs will go to. What’s made even worse is when dealers know that there have been massive alterations or poor repairs and try to sell them as originals or fully “restored” pieces.
Like any resourceful company, we do look around to see what our competitors carry. There’s a lot of good out there but there’s also a lot of bad. One such company (that shall remain nameless) has a very extensive selection online, but a selection that is always on sale. When I look at what they have and what they profess them to be, I can’t believe they can charge what they do for essentially lying to people. At one point I saw a very nice set of early art deco slipper shade wall sconces on their site Unfortunately they were missing all of their glass (the most valuable part) and the glass was replaced by metal parts for the ceiling cap of an earlier lamp. A lamp made 20 years earlier I might add. And they were charging a higher retail price that we would ask in our showroom fully restored!
When I emailed the company about the sconces, they assured me they were all original and would never alter an antique the way I was suggesting.
It was outrageous to see and even more so to be lied to.
And I’m sure they do it every day.
Antique dealers and companies that restore antiques sometimes have a bad reputation as sharks or shysters and its because of companies like the ones above. Which is why I’m trying to right the wrongs.
When you are looking at antique lighting, there are things to be mindful of other than style, size or budget. Here are a few:
Electrical SafetyAntique lighting was either, gas, electric or both. Unless it’s a signed L.C.T Tiffany or Handel lamp, the original wiring and sockets ad no value to the lamp and actually act as a liability. All vintage and restored lighting should be rewired with new sockets and either CSA or UL approved for installation. By law through the Electrical Standards Act, all lighting has to be certified for installation. All to often, antique dealers and “restoration” companies will replace the lead wires but not the sockets as seen the photo on the left. This is not safe and not reflective of a quality restoration. Only porcelain sockets should be used for down bulb lights as seen on one of our restored fixtures on the right.
Repairs and Adaptations
As I mentioned before, there are some terrible repairs have been conducted on antique lighting with the goal of getting the job done as opposed to getting it done right. The fixture on the right is a fantastic C 1880 aesthetic movement gas light. It came into us with a couple of the arms drilled out when it was originally electrified in the 1900s. Not only did the person drill right through the arms to get the wire through but they also ripped off the gas key so no one would turn it and pinch the wire. This was an incredibly poor job that resulted in us doing a full restoration of the arm and a recast of the gas key. It looks as original as the day it was made but took us a long time to correct other peoples problems. When looking at antique lighting, its important to notice poor repairs and use those as red flags that the light isn’t what it seems. Fixing those bad repairs can often cost more than what you paid for the light which is why its important that its done right. Saves you time, money and provides piece of mind which will allow you to truly enjoy the light.
Finish and Overall Condition
Original finishes are the most sought after for certain collectors and there is a reason why. Its partially reflected in the overall value but more importantly, its something that has lasted all of these years which is a rarity with antique lighting. But original finishes are fragile things and often don’t last the test of time. All too often people with re-polish antique lighting to get the bright shiny brass effect but fail to lacquer or treat it in any way. As a result, the fixture tarnishes and needs constant maintenance as seen with the fixture on the left which has tarnished to a dull brass. To make matters worse on the fixture, the person who “restored” it failed to remove any of the dents in the center body and actually left wire sticking out of the arms. The fixture was actually “live” on the ceiling which was a major fire hazard.
With finish, its important to choose something you like and a finish that will last. All of our finishes are period style finishes fashioned after original ones form the 1880s onwards. They are all treated with lacquer or wax and are suitable for interior and exterior use where specified.
Although a lot of this may seem overwhelming, its actually not. I explain it to clients everyday and that’s what make us and our lighting different from our competitors. Although we may not divulge how we restore everything we always make sure to both show and tell people that it’s done right. That’s why we’ve been in business for over 30 years restoring lighting, have CSA approval on our lighting and why we offer a warranty on all of our antique lighting.
We stand behind everything that we do because like the antiques we love to find and restore, we want them to carry on for another 100 years of enjoyment.
]]>