A vintage Christmas decoration undergoing restoration. Storage is the key to keeping your vintage and antique decorations looking new.

Many of us have antique Christmas ornaments and decorations that were passed down by mothers and grandmothers. Hopefully, yours are in good condition, considering their age, but if you have some that have suffered damage from handling and storage, there are ways to return them to their original lustrous look. But you can take steps now to prevent future damage to these important keepsakes of holidays past.

Holiday decorations are typically made of fragile materials that are easily damaged by accidents, mishandling, heat, light, moisture or improper packing and storage. The damage is often not discovered until decorations are unpacked from the previous year.

Boxes of special ornaments and family keepsakes are often stored in places that can do them the most harm. Basements, attics and storage sheds are unfortunately the places where many of these fragile objects are kept from year to year, exposing them to extreme environmental conditions that can cause them to crack, fade, melt, mold and deteriorate beyond repair. When disaster strikes, some damage can be professionally restored.

It is important to consider the potential for damage when displaying holiday decorations. Some items can be damaged if placed too close to fireplaces, burning candles and Christmas lights. Keep fragile decorations out of the reach of small children and pets.

Proper storage after the Holidays

Vintage Christmas ornaments in an after-market box with foam cushioning. Try to keep the boxes your decorations come in because they are designed to protect the contents.

For most, our family decorations represent fond memories of a holiday past. They hold great sentimental value and deserve proper handling, care and storage to preserve them for future generations to treasure and enjoy. A small investment of time, quality packing materials and proper storage space will help to prevent the unnecessary loss of important family traditions.

Fragile holiday decorations should be individually wrapped in acid free tissue and placed in shallow divided plastic boxes with lids for storage. Adequate soft packing materials should be used to cushion breakable objects. Heavy ornaments and decorations should be placed on the bottom of the storage box. Hooks and hangers should be removed and stored separately.

Decorations that contain photographs and/or natural materials may attract insects or mice and should be sealed in strong plastic bags and placed in hard plastic containers for storage.

Items made of wax, thin plastic or cookie dough should never be stored where they are exposed to high temperatures. Never store holiday decorations in an attic or outside storage shed. If off-site “self-storage” is used, inside temperature-controlled facilities are preferred over small outdoor storage bins. These units are usually constructed of un-insulated metal and offer little protection from extreme temperatures and fluctuating humidity levels.

Storage boxes should be labeled and placed on sturdy storage shelves in a closet or a cool, dry basement where temperature and relative humidity (RH) are controlled. Boxes should not be stored near sources of heat and moisture. If these items must be stored in a basement they should not be placed near a furnace, water heater, floor drains, electrical panels or under HVAC ducts and water lines.

• Large items should also be wrapped in acid free tissue and placed in sealed plastic storage containers to prevent damage.
• When you purchase or receive new decorations, save the original fitted packing materials for reuse and storage.
• Place small packets of silica gel in sealed storage containers to prevent mildew.
• Lights, tree stands and heavy outdoor decorations should be not be stored in the same container as fragile indoor keepsakes.

Remember when stacking packed storage containers to place the larger, heavier boxes on the bottom. Select storage containers that have strong lids that will support weight and use stackable, interlocking containers whenever possible.

— by Douglas Eisele
Old World Restorations

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

There are a number of different commercial products available for cleaning silver: cloth, liquid, cream, paste and foam are common products that are easily available.

Thanksgiving Day is a week away, and if you are tempted to get out your antique silver to make your holiday table sparkle, there are a few things you need to know before you get down to the chore of cleaning and polishing that silver.

Before cleaning or polishing silver, it is important to inspect each object for hallmarks or other identifying marks that will tell you if the piece is sterling or silver plate. Also look at how the item is constructed. If there are solder joins or hollow sections in handles or feet, the object should not be immersed in a cleaning agent or water. The object should also be checked for the presence of decorative gilding or other surface inlays. Special care is needed to spot-clean these delicate and sometimes fugitive (less stabile) surfaces.

There are a number of different commercial products available for cleaning silver: cloth, liquid, cream, paste and foam are common products that are easily available. Do not use non-specific, all-purpose metal polishes because these contain harsher abrasives and may cause damage to the silver finish.

Commercial Cleaning Products
Commercial products that are formulated for home use are the safest method for frequent cleaning of silver. As with any method, cleaning and polishing agents contain abrasives. Be sure to close the containers tightly after use because the cleaner can dry out, making the polish more abrasive. Over time, the cleaning process does remove some silver along with the tarnish and leave fine scratches on the surface. It is advisable to use the least invasive cleaning agent necessary, so that you remove only the layer of tarnish from the piece. Most commercial silver polishes contain a tarnish inhibitor. While this slows the tarnishing rate for a short time, when objects do start to tarnish they do so unevenly.

Whiting
Many museums and conservators make their own polishing paste using precipitated chalk (calcium carbonate) and distilled water. Sometimes referred to as “whiting,” calcium carbonate is a superfine ground white powder that mixes easily with distilled water, and is available at most chemical supply companies and hardware stores. When using this method, it is important to have a light hand when polishing. Calcium carbonate acts as an abrasive in the cleaning process. Care has to be taken to mix a thin paste with enough abrasion to remove the tarnish without leaving scratches in the surface.

After polishing, there can be a residue of abrasive particles left on the surface that should be removed by rubbing with a soft cloth or brushing with a soft brush and should not be used on gilded or inlaid surfaces.

Chemical Liquid Dips
Liquid dip is a chemical mixture that, in theory, attacks the tarnish and not the silver. A dip may not be the best answer for cleaning heavily engraved surfaces because it can remove the darker in-fill on the engraved texture, leaving the silver looking flat. It is recommended that rather than submerging the object in the liquid, the dip be applied briefly to the item with a cotton-tipped applicator. Rinse in distilled water to remove any excess dip and then dry. Prolonged use of dips is not advisable, as this can lead to surface pitting. Also, chemical dips should not be used on silver pieces that have hollow sections (candlesticks or teapots with hollow handles) because once liquid leaks into a cavity, it is virtually impossible to wash it out. Remember, too, that dips are composed of an acid that is corrosive and can damage bronze, stainless steel knife blades, and organic materials, such as wood and ivory. When using dips, it is important to work in a well-ventilated area and to wear rubber gloves. If, after cleaning, there is a slight yellowish cast to the silver, rub the object gently with a silver polishing cloth.

Wadding Polish
Wadding polish is cotton wool or batting that contains an abrasive and is moistened with an organic solvent instead of water. It is useful for objects that should not be exposed to water. However, wadding leaves behind a residue of abrasive particles on the surface that should be removed by rubbing with a soft cloth or brushing with a soft brush and should not be used on gilded or inlaid surfaces.

Silver that is used will eventually end up with some scratches and dents. It is generally a good idea to simply accept this cosmetic damage as a sign of character and use. If a major dent occurs on a piece that is frequently polished, prolonged handling will thin the metal and make repairs more difficult. If this happens, consult a conservator.

—by Douglas Eisele
Old World Restoration

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Some molds can be toxic, so it is important to wear the appropriate protection, including gloves and a proper respirator or dust mask.

The rash of devastating hurricanes in the southeast United States over the last few years has created a potentially dangerous situation for collectors and institutions now salvaging mold and mildew covered artwork and antique items from flood-affected areas. Mold should be treated very carefully.

Your first priority should be to protect yourself against any health and safety issues associated with exposures to dangerous mold. There are different types of mold. Some pose little or no hazards to humans while others can be toxic. The dangerous molds such as Stachybotrys or Chaetomium can cause serious illnesses. I would suggest that any visible mold should be considered a danger that requires immediate attention and safe handling.

Stachybotrys is a greenish black mold that grows on material with a high cellulose content, including building materials such as wood, drywall, wallpaper, insulation backing, cardboard boxes and fiberboard. This mold requires very wet and humid conditions for days or weeks in order to grow.

Chaetomium is a common fungal species that is frequently found on deteriorating wood products and often emits a stale, musty odor. Chaetomium colonies are fast growing and start off white in color. As they mature the colonies become gray to olive-green in color.

In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper filtration system is recommended.

Mold removal and treatment should usually be performed by trained mold remediation professionals. When inspecting or retrieving salvageable possessions from a flooded building it is important to wear the proper personal protective equipment. Use a respirator/dust mask that has a NIOSH rating of N-95 or higher. The mask must fit and be worn properly. Wear disposable latex gloves and coveralls, as well as goggles for eye protection. Limit the time spent in areas where mold levels are high to 15 minute intervals.

Under no circumstances should chlorine bleach be used to clean the surface of any work of art, frame, photograph, document or other antique items. An experienced art conservator should be consulted for assistance in dealing with mold-affected materials. In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper HEPA filtration system is recommended. Special attachment micro-tools, speed controls and screens are used by conservators when vacuuming to prevent damage to the art.

After the surface is cleaned of visible mold, the item is subjected to controlled ultraviolet light. Tests are then conducted from surface samples to verify that mold is no longer present. After cleaning, items should be placed in a clean and protected environment with low humidity.

Mold Removal Tips:

• Wear proper protective equipment
• Never use chlorine bleach
• Vacuum using HEPA Filters
• Expose to controlled UV light
• Place items in low humidity
• Consult experienced professionals

— by Douglas Eisele

Old World Restoration

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Chips on the top rim of this Weller Art Pottery vase were professionally restored by Old World Restorations, Inc., Cincinnati, Ohio.

The repairs are invisible to a cursory glance. Which is why one needs to be on the lookout for repaired porcelain, art pottery and clay pieces.

Antiques and collectibles enthusiasts often find themselves frequenting community charity auctions, local antique shows, neighborhood garage sales and internet web sites searching for their next “Great Find.” But buying from someone you don’t know—and may never be able to find again—is sometimes risky business.

For collectors of different types of ceramic art, including porcelain figurines, art pottery and clay sculpture, one of the issues facing them is the fact that chipped or broken porcelain can be professionally restored so that the damage is no longer visible. But the pieces may not always be marked as such.

So, how can one know if an item has been damaged and restored?

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. If allowed, a collector can usually have art and antique items inspected by an experienced conservator or museum conservation lab.

But if your are standing in the middle of a flea market, holding a piece you might be interested in buying, 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).

Pair of early porcelain candlesticks with old discolored repairs, small chips and missing leaves. This damage is difficult to see on a photo posted on an Internet listing.

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.

An Imari porcelain plate with old repairs and rim chips that are easily visible to the naked eye.

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.

Before you buy:

• Do your homework and know what it is that you are looking at
• Research basic restoration and conservation techniques
• Ask the seller questions to document an objects history and condition
• Conduct thorough inspections in good light
• Consult an experienced art conservator or museum
• Ask for written money-back guarantee

— by Douglas Eisele
Old World Restoration

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Winter weather can play havoc on your outdoor statuary. This 19th-century plaster cast of a copy of the statue of David is showing sings of weathering. Now, before the leaves start falling, is the time to prepare your outdoor art for the winter.

People love their gardens, and that includes many wonderful old statues and other ornaments made of stone and metal. But every winter, many witness damage to some of them from exposure to the elements. So what should you do now—or this fall at the latest—to protect stone and metal yard art from extreme winter conditions?

It’s good to be thinking about protecting your outdoor art now, before the leaves begin to fall and temperatures drop. Most of us assume that garden ornaments, outdoor statuary and fixtures made of stone or metal that were designed to be displayed and used out-of-doors will survive seasonal changes indefinitely without damage or deterioration.

While some weathering is expected, surface deterioration occurs slowly and is frequently unnoticed until after much of the damage has already been done. Deposits of dust from circulating air supports the formation of fungal cells on porous stone, metal and clay sculpture. Once begun, the roots (mycelium) of such growth break through the surface and begin a cycle of deterioration that, if left untreated, can be permanent and irreversible.

Perhaps the number-one enemy of all stone, metal and wood garden pieces is water and ice. Freeze and thaw cycles that occur during the winter can further exaggerate these effects on nearly all types of outdoor art and statuary. Small cracks will quickly grow if left unrepaired throughout the winter, as water freezes and expands, forcing the crack to split apart further. Outdoor statues made of cast zinc are far more brittle than those made in bronze. Close examination of zinc sculpture usually shows that some seams have separated, probably because there were incipient cracks to begin with. Lead-tin solder seams are often found cracked on statues that appear intact, and white-bronze joins tend to separate over time because they were often poorly bonded in the first place.

Significant to keeping outdoor sculpture and statuary in good condition, is carefully selecting an appropriate location. Organic growth on statuary will be greater when dense trees, shrubs and ground cover are nearby and become overgrown. Outdoor statuary of marble or bronze can be adversely affected when placed near a swimming pool or fountain, where chlorine can cause premature corrosion.

A 19th-century cast stone statue of Diana the huntress, virgin goddess of the hunt, atop a cast stone pedestal. While statuary can add to the beauty of your garden for most of the year, outdoor art should be brought inside during winter months if possible.

Year-round routine maintenance can help to preserve outdoor sculpture for a long time. Examination by an experienced conservator is a critical first step. A professional assessment will alert you to existing conditions such as oxidization, deterioration and stress fractures that may not be clearly visible. A conservator may suggest and prioritize necessary treatment options that can include simple cleaning, stabilization and restoration of damaged areas. Part of any suggested treatment should be a plan for regular maintenance and future restorations that may be necessary.

For example, the conservation treatment of a bronze statue will frequently include the application of hot and cold wax layers. Every few years, the base wax will need to be rejuvenated. The paste wax is typically reapplied a few times a year to seal and protect the sculpture.

It is important to carefully inspect all of your outdoor art several times a year. Pay careful attention to the accumulation of surface dirt, grime, lichen, algae or mold. If a statue or garden ornament has been repaired or restored, examine these areas for any signs of deterioration, cracking or other damage. Small structural cracks and voids can be in-filled with proper materials and sealed to minimize the need for costly restorations in the future. Keep in mind, that cleaning, stabilization, restoration and conservation treatments can only be performed on large outdoor works during warm weather, unless of course, they can be moved indoors for treatment. Now is certainly the best time to take necessary steps to prevent or minimize the effects of winter.

A cast iron angel can add a little touch of art to a garden, but make sure to pay careful attention to the accumulation of surface dirt, grime, lichen, algae or mold.

Preservation Tips:

• Remember, that some weathering is to be expected.
• Select a suitable location for outdoor art.
• Never place marble or bronze statues near a swimming pool.
• Never place metal objects that rust on stone or porous bases.
• Conduct regular inspections yourself or contact a conservator.
• Clean away organic growth only with water.
• Never use bleach or household cleaning products to clean outdoor art.
• Cracks should be in-filled and sealed with proper materials.
• Do not seal cracks in marble or stone statues with caulk or silicone.
• Do not wrap and seal outdoor statues in plastic.
• Move outdoor art inside during winter months if possible.

—by Douglas Eisele

Old World Restorations

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Damage done by insects to the frame and stretcher of an oil painting.

I have had customers come to me with oil painting on which they recently noticed small holes developing near the edges of the canvas and also found small piles of wood dust on the floor under the paintings. They took the paintings off the wall and discovered that the back of the frames and stretchers had been eaten by some type of insect or termite.

Some household insects are attracted to organic (non-living) materials that are commonly used to create furniture, paintings, works on paper and sculpture. These pests can easily enter your home and feed on wood, glue, paper, linen, wool, cotton, leather, horn and feathers, and it is best to defend your art, antiques and collectibles against these art-loving pests.

There are two types of insects that destroy wood, those that attack fresh wood (trees and fresh wood in storage) and those that attack dry worked wood. They can remain active in the same piece of wood long enough to completely consume it. Often times, they will tunnel through a support leg or side panel on a piece of furniture, causing extensive structural damage. Their caustic work usually goes unnoticed until after much of the damage has already been done.

Only a few types of insects have an appetite for dry worked wood found in furniture, stretchers for paintings and picture frames. The most common are the woodworm or furniture beetle (Anobium punctatum), the long-horn house beetle (Hylotrupes bajulus) and the powder post beetle (Lyctus brunneus), including their relatives. Most wood-boring insects have life cycles of just a few years. They develop and change in four stages known as metamorphosis (egg, larva, pupa, adult insect). The larvae that hatch from eggs bore their way through wood, grinding it up and sometimes actually eating it.

Pieces of chewed wood and waste particles combine to form bore dust (frass), which is often species-specific in color and shape, allowing experts to identify the type of infestation. This sawdust or sand-like material can usually be found near where the fully formed beetle emerges through the bore or flight holes into the open air. Flight holes are a clear indication of previous or active infestation, requiring an inspection to determine if treatment or structural restoration is needed. Furniture beetles are attracted to softer woods in areas where temperatures are warm and humidity levels are high, while powder post beetles prefer a dry, warm environment to feed on starch and protein.

What to Look For:

Wood eaten away by insects can ruin antiques, weakening legs and supports until they break completely through.

Many insects are reclusive and are difficult to find because of their size and color. Look for insect remains, empty egg cases, termite wings, casings or skins that have been shed by larvae.

WOOD: Look for bore holes and sawdust. Lightly tap areas of wood where infestation is suspected with your finger tip to find hollow areas that may have been tunneled or eaten by insects.

TEXTILES: Look for small holes and areas that have become unusually thin.

PAPER: Look for small holes, tattered edges and areas where the paint or color appears to be abraded or erased. The abrasion can be caused by silverfish as they travel across the surface of a print, painting or document.

PAINTINGS: Look for small holes on the surface of the canvas, or bore/exit holes in panels, stretchers and frames. Many times insect remains are found in spider webs on the back of the painting. Small fly “specks” or droppings are commonly found on the surface of a painting and can be safely removed by an experienced restorer.

What to do if You Find Insect Damage:

Bore holes show where an infestation has taken place.

Isolate the object by placing it in a sealed plastic bag or wrap to prevent the insects from spreading to other objects while you seek help.

Collect and preserve samples of any insect remains and bore-hole dust for inspection by an experienced art and furniture restorer or conservator and exterminator.

Do not spray pesticides directly on treasured objects of art or antiques, as they can stain, discolor and damage the surface or finish.

Some objects like wood and paper can be frozen to kill adult insects, larvae and eggs. Do not freeze paintings, photographs, lacquered surfaces or layered items.

Prevention Tips:

Keep your house and storage areas clean: Insects thrive on dusty, dirty and dark environments.

There are a number of practical measures that individuals can take to prevent an infestation in their home or office:

• Make sure that window and door screens prevent insects from entering;
• Do not bring outdoor plants into your home;
• Keep your house and storage areas clean: Insects thrive on dusty, dirty and dark environments;
• Lower the temperature and humidity levels, and increase air circulation;
• Art and antique items, documents and photographs that are stored should be kept in clean, airtight plastic containers in a controlled environment.

—by Douglas Eisele
Old World Restorations

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

Antique and vintage globes, even if they are damaged, can have a useful and productive second life with a little work.

Globes were initially engraved or painted directly on spherical shells. In the late 16th century, globe-makers began printing maps and pasting them onto round shells made of solid wood or hollow wood stuffed with layers of paper. Some were made of blown glass, marble or metal. The maps were divided and cut into panels (gores) with curved sides tapering to a point at the north and south poles, so that when applied to the surface of the shell, they create a complete three-dimensional map of the world.

The wooden shell was covered with pasteboard and chalk to create a uniform and smooth surface on which the gores representing the terraqueous globe or the celestial sphere were pasted in the proper order.

A meridian ring or semi-circular band usually made of metal, arches around the globe on the axis connecting the poles. The globes axis was tilted at about 23 degrees from the vertical to reproduce the Earth’s tilt on the plane of its orbit.

The horizon ring is a circular band that is typically made of printed paper laminated to wood or metal. It wraps around the equatorial area of the globe containing calendar or zodiac signs. The horizon was supported by three legs in the English mount and by four legs in the Dutch mount.

A small, thin metal circle on the top of the globe called the hour circle. It is divided into 24 segments and imprinted or engraved with the hours of the day and night. By turning it, one can calculate the time difference between various locations on the globe.

Antique and vintage globes, even if they are damaged, can have a useful and productive second life with a little work.

Most old globes can be repaired and restored if damaged or deteriorated. The surface of the globe and stand can usually be cleaned, stabilized and retouched. Broken or dented shells can be repaired. Badly damaged gores can sometimes be replaced with reproduced sections of similar maps that are trimmed and attached over the damaged or missing areas, and toned to match the surrounding surface colors. Replacement areas can also be digitally reproduced to match original losses.

Many old globes have yellowed or darkened with age. This is caused by acids in the wood and papers used to create the globe and/or the varnish layers that were applied over the paper surface of many globes. In some instances, this discoloration can be reversed or reduced by careful and controlled cleaning by an experienced conservator. The map can quickly and easily be destroyed by improper cleaning.

The materials that were used to fabricate most globes are sensitive to climactic change. It is important to store and display antique globes only in an environment where temperature and relative humidity are controlled and constant.

Paper panels that are fading and starting to peel can be cleaned and reattached to the shell.

Exposure to ultraviolet light can fade the maps, darken and yellow any surface varnish that may have been applied over the maps and trigger splitting and separation of the globes support shell and gores.

Tips for protecting antique globes:

• Never place an old globe in direct sunlight
• Keep in a controlled environment
• Don’t attempt to clean the surface
• Dusting cloths can catch and damage loose or lifting paper
• Keep stand in good and stable condition.
• Don’t apply tape over the surface for any reason

—by Douglas Eisele

Douglas Eisele is from the Eisele Gallery of Fine Art and Old World Restorations, Inc.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.