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.

WorthPoint: Get the Most from Your Antiques and Collectibles

Taking care of and maintaining your Mid Century furniture

By Bradley Downs

Furniture produced during the post-war era, or “Mid Century Modern,” was generally very well made. There are a few exceptions, but we will not get into those right now. If you are a collector of MCM, or have the desire to get started, knowing how to maintain, treat and/or repair your furniture is of the utmost importance. Heck, that coffee table has lasted 50-plus years already, why can’t it last another 50?

Luckily, your better named companies back in the 1950s used higher quality woods and construction techniques. Those names include, but aren’t limited to, Knoll, Herman Miller, Heywood Wakefiled, American of Martinsville, Gunlock and the list goes on and on. They used real wood veneers and sometimes solid wood, especially Danish manufacturers. The metal portions of MCM furniture often consisted of brass, steel, chrome and aluminum. The clean, simple lines of this furniture and the lack of heavy, glossy finishes make for easy maintenance/repair.

The best way to clean a piece of MCM furniture is to use a very fine steel wool, “four ot” 0000 as they call it. Run the wool with the wood grain to remove wall-bumps, minor scratches and some stains. Murphy’s Oil Soap helps with the movement of the steel wool, but do not use more than you need to. Wipe the area with a dry cloth then apply Orange Oil, or if you wish to color match, I recommend Howard’s Furniture Restorer Oils. These can be purchased online or at most any antique store and the colors range from Golden Oak, to Walnut, to Mahogany and even the color “Neutral,” which work great for Heywood Wakefield pieces.

Many items you will find carry stain “rings” to the tops. This is often the result of coffee cups or planters. All is not lost though if you are a little handy with a palm sander! First, you would use high-grit sandpaper such as 220. Quickly go over the top until the ring is gone but make sure to sand the entire top so it is even. DO NOT sand too far, as many tops are comprised of thin veneers and sitting the sander down for too long in one spot will ruin the veneer. When finished, wipe the dust away and apply a Minwax stain, wood wax or Tung Oil and wipe off. Usually, one coat will work depending on the wood. The metal portions can be cleaned as well. For chrome you would use very fine steel wool (4 ot) and a little WD-40. Aluminum cleaners can be purchased at most auto stores. Steel and Brass should be buffed with a mild metal polish using a soft cloth. Steel wool will ruin the finish on steel and brass.

Maintaining a piece in original condition is easy. Simply dust with a dry cloth or feather duster and every few months wipe the furniture down with Orange Oil or the above mentioned oils by Howard’s. Even wood wax can bring out the true beauty of the wood, but try to avoid Teak Oil or Boat Oil. Danish Oil is fantastic, as it is very forgiving and can be built-up to a gloss or sheen you prefer by adding layers after each application dries. The Teak Oils can often be very sticky and unforgiving, like a varnish or polyurethane. If you want the protection of a heavy varnish, then apply it with a soft, lint-free cloth or sponge brush to avoid streaks and thick spots. There is so much more information pertaining to this subject and most of which depends on the piece of furniture in question. So, if you have a question about how to maintain a piece you own, feel free to send me an email!

Bradley Downs is owner of www.odd2mod.com in Atlanta, Ga.

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

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

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

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

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

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

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

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

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

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

When you’re considering buying an item or a painting that needs repair, as an antique dealer, you might ask yourself what the increase in value will be after its restoration. While I usually recommend the members of my antique business club, the 31 Club, to allow the purchaser do the restoration, there is that rare time it makes sense for you to have a piece restored.

One of our 31 Club members sent me a photo of a painting from a sales bulletin. It caught my eye, all right, and she planned to buy it. Before the sale, she contacted me again, saying the painting had some damage, but not too much. We agreed she’d bid on the piece without getting too carried away on the price. This painting soon became hers. She sent it to a restoration expert I recommended here in Chicago – Baumgartners, and yesterday I got to see it. Boy, is it a beauty!

The artist, Jean Dominique Van Caulaert (French 1877-1979) had a listing in Davensport of $9,000. While I don’t expect this one to do that well, at under $750 restored, I believe this is a real treasure. In fact, I like it so much I was thinking it would make a great addition to my own collection. But, I’m not going to do that this time. I’ve got enough for now, so look for this soon in the 31 Gallery.

While I don’t recommend you go out looking for damaged pieces, it you find a real quality piece, it might make sense if it is discounted enough. You see, when the restoration increases the value of a piece, by perhaps 5 to 7 times, that’s when you step forward and get the repairs done.

The Frederick Morgan painting I wrote about in my book was a painting I had relined. I bought it for $16,000 and this restoration didn’t reduce its value. It sold for $115,000 at auction at Christie’s New York. It would have been very easy to have walked away thinking it was no good because it had been “fooled with”. There are times you can be proud of the decisions you make and that was one of those decisions for me.

Usually, items should be left alone. I wouldn’t want to be looking for damaged pieces and get to be known as a dealer of repaired pieces. But if the discount is sufficient and the restored article will bring many times its cost plus repair, then jump on it.

*****

FREE MENTORING from Daryle Lambert. Visit www.31Corp.com ]]> http://www.worthpoint.com/research_library/when-should-i-restore-antique-or-fine-art-painting/feed 1 http://www.worthpoint.com/blog-entry/cleaning-records http://www.worthpoint.com/blog-entry/cleaning-records#comments Thu, 04 Sep 2008 17:21:57 +0000 Mike Garber http://blog.worthpoint.com/?p=1844027

One of the most frequent questions I receive at my shop is how to clean records.

I use a VPI record cleaner, which I recommend to anyone with a sizable collection or resale business. A vacuum- based cleaner like the VPI costs more than $500, so it’s probably not the best option for someone who only has 100 records sitting in the dusty basement.

There are many record cleaning kits that cost $20-$40. I don’t care for kits that use hand-held brushes that require you to use your arm as the fulcrum. In my experience, these brushes just redistribute dust and dirt on the record surface. They also can increase static electricity, which will attract more dust to the dry playing surface. I recommend using a soft cloth like the kind you would use to clean eye glasses. Dirtier records always will require more attention, but I find this method is at least as effective as using a brush.

For any cleaning method, you should use a liquid cleaning solution. There are commercial products available, but many collectors and dealers mix their own. They often recommend a mixture of 50 percent rubbing alcohol and 50 percent distilled water, along with a few drops of Photo Flo or non-abrasive soap (like shampoo or dish soap.) As with any cleaning method, a little trial and error should get you a process that you like. Practice on a few records you don’t care much about.

What about an album jacket or 45 label with an old price tag or radio station sticker that you don’t dare trying to peel off? Believe it or not, these remove easily with a little lighter fluid. Yes, lighter fluid! (I use Ronsonol).

Here’s how you do it: Saturate the sticker and the area around it. Don’t stress about the lighter fluid staining the jacket or label – it won’t. Give it a few seconds and then carefully start picking at the corners of the sticker with your fingernail. In most cases, the sticker will peel off quite easily. If not, be patient and let the lighter fluid dissolve the old adhesive.

This method does not work on all stickers/tape, including those that use water-based glues, but my success rate has been excellent. Words can’t explain the joy of removing old medical tape from a rare Fifties rockabilly 45 and leaving almost no trace of it ever having been there. Once the sticker and glue residue have been removed, allow about 15 minutes for the lighter fluid to evaporate. Again, practice with some records you don’t care about.

So, you want to try to clean an old oil painting. There are two main reasons why older paintings might look yellowish, dull, or dirty. First, they might actually be dirty! Secondly, older oil works were typically treated with a varnish coat to add sheen and gloss. This layer of varnish does protect the paint, but will darken and lose clarity over the years.

If want to risk removing the dingy varnish, most specialty art stores sell an emulsion designed to do just that. You should first try dabbing just a tiny bit of the solution in a discreet spot as a test. If you suspect that you can successfully remove only the varnish without harming the paint, proceed to work on larger swatches. Remember, there is considerable risk of damaging the painting or reducing the value and purity of the antique.

To remove common dust and dirt build up, a clean, very damp (not wet) cloth will do wonders. Some people have suggested white bread, or white bread dough to use as an “eraser” over the surface area. For everyday dust and hair, a vacuum cleaner with a very soft-bristled attachment set on a low suction setting is a perfect method. Search iantiqueonline.com for other suggestions from the antiquing community.

Good luck, and happy collecting!

I personally have a passion for antique table linen and usually can find great pieces in less august settings. Therefore, these pieces are sometimes in less than perfect condition. Double, triple and quadruple damask (categories which denote successive levels of thread quantity, the higher the better) in less than perfect condition are usually redeemable.

Most old linen is yellowed due to oxidation, and sometimes spotted due to improper or ineffective prior cleaning and storage. The cleaning process like the aging process will not achieve perfection over night, but never fear; with patience you will see results.

Step One: Never, and that would be never, put your antique table linens in the washing machine. The fabric, in some cases, is much too fragile to withstand the ringer/spin action. Antique table linens must be done by hand.

Step Two: Use oxygen bleach like Oxiclean or Tide. Never use liquid bleach even if heavily diluted, as prolonged exposure to liquid bleach will literally eat the fabric. I personally get great results with Tide (and no, I am not getting a kickback for the recommendation). Always use powder, never liquid. Presoak the linens in lukewarm water prior to adding them to a detergent solution. This will loosen the fabric and actually get some superficial residual dirt out of the fabric.

Step Three: Add three cups detergent to one gallon of water. The water must be very hot to activate the detergent. Add one gallon of warm water to solution. Drop each item, one at a time, into the soapy water and stir as each item is added. Allow mildly soiled items to soak for two days, stirring occasionally, and heavily soiled or discolored upwards to a week. (If soaking for a week rinse out the linens by hand in warm water and repeat the process)

Step Four: If you are eco-friendly, you may consider 2 cups white vinegar plus one-quarter cup salt, plus one cup lemon juice to one gallon of cool water. Pre-wash spots with lemon juice and salt prior to soaking. Soak upwards to two days. Repeat, if necessary.

Step Five: After desired whitening is accomplished rinse the linens twice in clear warm water. Never wring out the fabric but instead squeeze out the water then place it in a towel, wrap the towel around the items and press gently. The towel will absorb more of the water.

Step Six: Drying. Line drying in full sun is the best way to dry the linens, or lay small items out on wadded towels. Make sure the damp linen does not come in contact with metal, either in the wash line of by using a hanger; the metal may discolor the linen. In some parts of the world placing the linen flat on the grass aides in the whitening process, as the combination of chlorophyll and sunlight is a natural whitener. If drying outside is not possible use a laundry rack, preferably one that is plastic or vinyl covered wood, as untreated wood may leave a mark. Never dry linens in the dryer, as it will break down the fibers, but if you must set the heat gauge to delicate and remove the linens while still damp to iron them.

Step Seven: Ironing and storage. If linens have been washed and are to be stored indefinitely do not use starch when ironing — this will potentially yellow the linen and defeat all your hard work. Instead using an iron with a linen setting (usually the hottest) mist your linens with water and iron dry. You can use some of the commercially-scented products to moisten the linen such as rosewater or verbena. Make sure the scented product is an essence not an old based extract.

Ironing in creases, especially in napkins and table clothes will, over time, break down the fibers. If the linen is monogrammed with a raised design or all over embroidered, turn the fabric over onto a folded towel or completely cover your ironing surface with a towel or double folded white bed sheet before ironing. This will keep the monogram or embroidery raised and not flatten it. It will also prevent the tip of the iron from possibly ripping the fabric around the monogram.

Before storing make sure the linens are completely dry. If stored damp the linen may mildew, and that is virtually impossible to remove. If possible napkins, placemats and table clothes should be rolled over a tube.

For long time storage small items can be wrapped in acid free paper sleeves, or sheets of acid free paper can be used for larger items. For short time storage, place in a drawer or closet in a climate controlled environment.

Note: I love old wives tales about cleaning. If you have a great hint, I invite you to write in.

Have you ever passed up purchasing a wonderful piece of art pottery, flow blue, transferware or any other collectable ceramic or porcelain because it had horrible crazing or other stains? I know I have. Condition, condition, condition is the mantra that has been drilled into our heads. Only buy the best when purchasing our collectables and antiques.

However, it is possible to improve the condition of your china, pottery and porcelain finds using a cleaning solution.

Here’s the method I use to make my art pottery, porcelain and china bright and white.

The 40% peroxide solution

First, use only 40% hydrogen peroxide. This is not the peroxide you buy at the drug store. You need to buy the stronger type that is found at a beauty supply store. Always wear protective gloves to protect your skin from the burning peroxide.

I usually use a good size plastic storage container that can be sealed. I use plastic storage boxes that are large enough to lay a platter flat on the bottom. I will generally purchase 3 to 4 large 32 oz bottles of peroxide and pour into the plastic container. I soak the items sometimes for a month, and up to 6 months. I like my items to be completely covered as they soak.

The peroxide loses strength over time. You will know when to replace the peroxide because it tends to get discolored, and starts to have an odor. The brown crazing is usually old grease that has become trapped in the crazing of the glaze. This old grease darkens with age.

If I have a piece of porcelain that is more delicate, and I don’t want it soaking in peroxide for any length of time, I simply wrap the piece in old white rags soaked in peroxide, only putting the wet rags on the spots that need whitening. I place it in a large trash bag, and seal it. If using trash bag method, the rags will need re-soaking every few days, as they dry out.

Clean your pieces very carefully

Use great care with any cleaning method. It’s a good idea to try the method on an inexpensive piece before attempting to clean valuable pieces. After you have the piece as clean as you can, wash it with soap and warm water to clean off and residue of the peroxide.

NEVER USE CHORINE BLEACH! This will destroy the pottery, porcelain or ceramic piece. It literally eats it from the inside out. It makes the glaze flake of the piece.

Also, please make sure that you carefully look over any piece that you are going to soak. If restoration or repair has been made on a piece of pottery, porcelain or ceramic, chances are the piece will be ruined in this cleaning process. If in doubt ask a specialist in restorations before you try this.

Along the way, I try not to over-clean a piece. I don’t want to remove all the age; I just want the piece to display nicely. And if I’m careful, that’s just what happens.

Careful cleaning gets great results

Bear in mind, though, that I have even used this method on a piece of Limoges that was trimmed in gold, and it did not harm the gilt design, even though it was so badly discolored it had to soak for months.

As you’ll see, with patience, a little work and a lot of time, a bargain-priced and slightly-damaged collectable can be cleaned and its value increased.