Detecting Repaired Porcelain & Art Pottery ...
Q – I collect different types of ceramic art, including porcelain figurines, art pottery and clay sculpture. I frequent auctions, antique shows, neighborhood garage sales and internet web sites searching for my next “great find”.
I understand that chipped or broken porcelain can be professionally restored so that the damage is no longer visible. How can I, as a collector, know if an item has been damaged and restored.
A- There are different methods and types of equipment used by conservators to detect invisible restoration of ceramic objects. Ultraviolet (UV) light is used to examine the surface of an object and to reveal adhesive residue or any substances that may have been applied over the original surface to mask damage. X-ray can also be used to show fractures that have been invisibly restored. Collectors can usually have art and antique items inspected by an experienced conservator or museum conservation lab.
Knowledge and experience are probably the most valuable tools with which collectors can equip themselves when inspecting and buying ceramic art. It is important to learn as much as possible about the objects’ nature and composition and be able to confirm that it has the proper shape, size, design and glaze. Even when buying from reputable auction houses and dealers, one should still have a basic knowledge of the methods and materials that were used to create the object.
Don’t be afraid to ask the seller questions like “How and when did you acquire the object?”, “Have you thoroughly examined it for damage and repairs?” and “Are you willing to document the condition in writing and provide a money back guarantee if it differs from your representation?” (Answers to these questions are especially important when buying over the internet).
I recommend a visual inspection of the object in direct sunlight. Look for inconsistencies in the color, decoration and glaze. When a damaged ceramic object is restored, it will usually have some type of clear non-fired coating applied over the repair to mimic the original surface glaze. In some instances, this “simulated glaze” is applied over the entire surface. Unlike original fired glazes, new acrylic coatings often contain lint or dust particles that can be seen with the naked eye under direct sunlight.
Some original ceramic glazes exhibit a network of fine cracks know as “crazing”. These small surface cracks should not be restored and are nearly impossible to replicate when completing a restoration in an area of an object that is crazed. If an object has visible crazing, look for inconsistencies or the absence of crazing in suspicious areas that may indicate a restoration.
Carefully run your finger along the edges to reveal any rough spots or chips that may be hard to see. Some vases and flat objects can be lightly tapped with your finger or a straight pin to check for structural cracks. A cracked object will not “ring” like a bell when tapped.
I also suggest that you carry a small straight pin with you when shopping for ceramic objects. With the permission of the seller, carefully and lightly “touch” the point of the pin to the surface of the glaze where you suspect a restoration. The pin will easily slide across the glasslike surface of original fired and un-restored glaze; however, it will not slide across, and may even sink into, the simulated materials used to restore the damage. Be careful not to scratch or damage the glaze or the restoration. Some claim that a similar test can be done by touching a suspected area of an object to your teeth to reveal a difference between original and restored glazes.
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Cleaning and Protecting Fine Furniture ...
Q - What is the best way to clean and protect the finish on antique furniture?
A - The professional practice of caring for and restoring fine furniture has changed dramatically in recent years. More consideration is now given to the preservation of original finishes and restorers are not as quick to recommend refinishing. Stripping and refinishing are no longer standard practice. The original finish is significant to historic furniture and should be preserved whenever possible. The appearance of an early finish can be improved with proper cleaning methods and materials.
When attempting to clean and restore furniture, one must first be able to identify all of the materials that were used to create the piece. Furniture may consist of components that are made of, or finished in, wood, stone, metal, acrylic, fabric, leather, gold leaf, paint and natural or synthetic resins. Each material may have a different reaction to solvents and cleaning agents that may be chosen to restore the surface. It may not be safe to use a single product to treat an entire piece of furniture. In most cases, the advice of an experienced furniture conservator is suggested.
It is not necessary or advisable to routinely “feed” your furniture with oil and wax mixtures to prevent the wood from drying out and cracking. Some “home remedies” can temporarily improve the appearance of the wood and finish, but ultimately do nothing to stop “drying”. Products containing linseed oil should not be applied to fine furniture on a regular basis. The surface will become sticky and can darken enough over time to obscure the natural beauty and grain of the wood. Furniture polishes that contain lemon oil can attract and capture dust and dirt on the surface that may require future removal.
The best way to protect and maintain the original clear finish on furniture is an annual application of a good quality paste wax made of carnauba or micro-crystalline wax. I recommend using Renaissance brandwax polish. After proper cleaning, a furniture conservator will apply a thin layer of paste wax that is buffed by hand to restore a deep luster to the original finish. Some paste wax is available in different colors to make small nicks and scratches less noticeable after polishing. Water based finishes may be sensitive and easily damaged by paste wax which can contain solvents. It is always a good idea to test a small area before applying wax over an entire surface. After waxing, the surface can easily be maintained by hand buffing with a slightly dampened clean soft cloth.
Maintaining a stable environment will also help to preserve your furniture. Wood and most finishes can be affected and damaged by changes in relative humidity, extreme temperatures and over-exposure to ultraviolet light. No amount of lemon oil will prevent wood from drying out if it is constantly exposed to low humidity levels.
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Preserving Family Photographs ...
Holiday snapshots, baby pictures, wedding pictures and treasured family photographs are great ways to preserve your memories. Unfortunately, the life expectancy of a photograph is very much dependant upon the care and handling that it receives. Photographs can easily be damaged by improper handling, storage, display and framing. There are, however, things that you can and should do to safeguard these important documents of your past.
Prevent deterioration by keeping photographic materials in a proper environment. Never store photographs in an attic or basement where they are exposed to extreme temperatures and high humidity. Relative humidity is probably the single most important factor in preserving photographs. Humidity levels above sixty percent accelerate deterioration. Extended exposure to ultraviolet (UV) light can fade and severely damage photographs.
Avoid touching fragile photographic materials as much as possible. Wear clean cotton gloves when handling negatives and prints to prevent fingerprints and stains.
Store photographs in protective enclosures that are acid-free. Suitable plastic enclosures are made of uncoated polyester film, uncoated cellulose triacetate, polyethylene and polypropylene. Keep in mind that photographic emulsions may adhere to plastic surfaces at high relative humidity (RH) levels. The RH must remain below eighty percent if plastic enclosures are used for storage. Plastic enclosures should not be used for glass plate, nitrate or acetate-based negatives. Paper enclosures should be acid-free and lignin free. All storage materials should pass the ANSI Photographic Activity Test (PAT) which is noted in most supplier catalogs. Avoid using cardboard, rubber bands, paper clips, tape, ink pen or markers, rubber cement, silicone adhesives, PVC plastics or albums that are constructed of colored pages or use "magnetic" or "no-stick" pages. These materials discolor and deteriorate quickly over time.
Photographs of historic value should be matted with acid-free rag or museum board for long-term protection. Mounting adhesives should not come in contact with the photograph. Matting should be done by an experienced framer or under the direction of a trained conservator. Store all prints and negatives that are matted or placed in paper or plastic enclosures in acid-free storage boxes. Negatives should be kept separate from prints. Consider making copies of valued photographs that are stored at another location in the event of a fire, flood or accident.
Restoring Family Photographs
When disaster strikes and family keepsakes become torn, stained, burned, wet or faded, there are two very different methods used to restore damaged photographs.
An experienced conservator can usually surface clean, mend tears, replace missing areas and perform limited restorations to restore and preserve the original photograph. A damaged photograph can also be scanned and digitally reproduced to include invisible restorations that are truly remarkable.
Look for Doug Eisele's tips for preserving flood damaged photographs on
diy - do it yourself network - “Weathering the Storm” at: diynet.com
(episode DWTS-102)
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Polishing silver with “Sterling results”...
Q – I am planning several dinner parties this holiday season and would like to use my antique silver. I have a large tea set and other serving pieces that are badly tarnished. I dread the daunting task of cleaning and polishing before each use. What is the best way to keep my silver sparkling?
A – There is something stately about the shine and luster of polished antique silver. When properly cared for, silver can be used, displayed and kept for generations. Unfortunately, silver will tarnish when exposed to air that is humid and/or contains sulfide gases. Tarnish is a form of corrosion that begins as a yellowed tint and continues to develop into a thin black layer covering the entire surface of the object.
Tarnish becomes more difficult to remove as it darkens. Most damage to silver occurs as a result of the polishing required to remove tarnish. Silver can easily be kept clean with regular care, light polishing and proper storage. Polishing with a mild abrasive is the only safe cleaning method conservators recommend for most antique silver. Commercially available “silver dips” may contain hydrochloric or sulfuric acid which can act too quickly and remove more silver from the surface than simple polishing does. Some polishes are too abrasive and may scratch fine silver. I recommend using a less abrasive brand like “Hagerty’s Foam” or “Flintoline Polish” for antique silver. Many conservators use calcium carbonate (chalk/whiting) mixed into slurry with equal amounts of denatured alcohol and distilled water. The wet paste is rubbed across the surface in small circular motions with clean cotton rags or cotton balls. Any remaining polish is rinsed with distilled water. The cleaned surface is dried and then buffed by hand with a jeweler’s cloth containing rouge.
Silver plated objects can be damaged by over-polishing. The surface silver can be abraded and worn, exposing the base metal. Worn items can be professionally re-plated with additional layers of silver.
An easy way to preserve fine silver and reduce polishing is to wrap each item, after it has been polished, in acid-free tissue or silver tarnish inhibiting cloth that is available at most fabric stores. Place the wrapped items in clear plastic (polyethylene) bags and seal. Store in a secure, humidity controlled area.
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Proper Care of Gold Leaf...
The appearance of genuine gold leaf properly applied and finished is exquisite. Few decorative finishes compare to its metallic luster, quality and measure of good taste. Science suggests that gold was first found and processed as early as 6000BC. The application of gold leaf flourished in Ancient Egypt, where it was used to embellish symbols of the Gods. Over the years, little has changed in the way in which gold leaf is manufactured, applied or cared for.
What is Leaf?
Leaf is a micro-thin sheet of metal that is packaged in small books and individually separated by pages of tissue. All types of leaf are created through a process by which the metal itself is mechanically beaten out into paper-thin sheets. The metals are first rolled out very thin and then further flattened by hand. Leaf comes in a variety of types including genuine gold leaf, gold “composition” or “metal leaf” (actually made from copper and zinc alloys rather than gold), silver leaf and aluminum leaf. There are various methods of application and size (bonding agents) used by gilders to achieve the desired luster or finish.
Properly cared for, genuine gold leaf will last indefinitely. It should not be covered with shellac or varnish for protection while on the other hand composition or metal leaf requires a coating or sealant to prevent tarnish and discoloration.
Special care should be taken when cleaning leaf to prevent the reactivation of the size or glue that was originally used to attach the sheets of leaf to the surface. Wiping a gold leaf frame that has been water gilded with a wet cloth may cause the rabbit skin glue that is in the gesso or clay under the leaf to soften and release the gold leaf itself.
This is apparent on many early ornate gold gilt frames, where the finish is worn or missing along the inside bottom edge from repeated dusting and cleaning with a damp cloth. The best and safest method to dust a gold leaf frame is to use a dry and soft long-haired brush and a controlled light vacuum. Clean make-up brushes work will for routine dusting.
Many old gold leafed frames have unfortunately been “touched-up” or entirely “re-gilded” with bronze or gold powder paints. Most often, these paints will darken and discolor with age, causing the surface to loose its brilliant gold luster and appear somewhat dull. An experienced conservator can usually remove most or all of the overpaint and re-expose the original gold leaf finish.
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Cleaning Crystal Chandeliers...
Q - I recently purchased a beautiful antique chandelier from an estate sale to hang in the dining room of our new home. How can I safely clean the crystal arms and prisms?
A - Ornamental lighting fixtures and crystal chandeliers are making a dramatic reappearance in all types of homes. Sparkling cascades of cut crystal or gilded bronze can illuminate even the simplest of rooms with elegance and sophistication.
Evolving from simple devices that supplied light to the center of an entry hall, dining room or ballroom, chandeliers have become artistic masterpieces that are also extremely fragile and prone to breakage. Most damage occurs when cleaning or during redecorating, and can usually be avoided with proper care, handling and maintenance.
Cleaning a chandelier can certainly be intimidating, but the results can be well worth the time and effort. Most crystal chandeliers should only need to be cleaned once or twice a year. Careful consideration and preparation are a must.
Most crystal chandeliers have hanging pieces that should be removed for cleaning. Never spray the entire fixture with water, vinegar or ammonia based cleaners. Start by taking a photograph and making a simple diagram to document the locations of all removable parts. Move furniture out of the way, or cover with thick soft pads to protect the surface and prevent damage to any pieces that may fall. If access is difficult, make certain that you have a safe and secure ladder or scaffold in place before you begin. The lights should be off and cool before cleaning. Work your way around the fixture to remove all hanging pieces one at a time. Work across the fixture, moving from one side to another to keep it hanging as straight as you can. Do not spin the chandelier around to reach the other side. This can twist the electrical wires and/or cause the entire fixture to come loose and fall to the floor. As pieces are removed, they should be separated into groups until they are reassembled. Carefully move all crystal parts to the kitchen or other work area with adequate work space and running water. Place clean, soft and dry towels over the counters on both sides of the sink. Fill a plastic wash basin or bucket with warm water and a small amount of mild dish detergent. Carefully dip one crystal piece at a time into the bucket to be washed. A small soft brush or sponge can be used for cleaning. Be careful not to bend or break the small wires or prism pins that are used to attaché the hanging parts to the chandelier. The cleaned pieces should immediately be rinsed with clean warn water and placed on another clean towel to dry. Large pieces can be dried and buffed with soft lint-free cotton rags. Cotton gloves can be worn to prevent fingerprints on clean pieces.
The crystal arms and center section of the chandelier should first be dusted with a clean dry cloth and then wiped with another small soft lint-free cloth that has been lightly sprayed with glass cleaner. Do not spray ammonia based cleaners directly on the fixture. This may cause and electrical short and oxidization of metal any parts. The bulbs should also be cleaned or replaced. Candle covers should be removed and cleaned or replaced. All wiring should be inspected for worn or cracked insulation and loose connections. An electrician and/or lighting professional should be consulted if damage or problems exist.
After all of the pieces have been thoroughly cleaned, dried and hand buffed they should be reattached to the chandelier. Check the security of all wires or prism pins that are used to attach crystal pieces to the fixture. Be careful not to hang too many pieces on one side of the fixture causing it to become unbalanced. Avoid bumping or stressing crystal arms that can break easily. Broken or damaged parts can usually be restored or replaced through lighting retailers or experienced restorers.
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