Properly Framing Your Documents, Prints and Maps

By Rick Badwey

My start in the archival framing business occurred about 20 years ago when I bought and sold rare coins and fiscal/historical paper related items: Confederate bonds, early currency, etc. During this time, I would get items framed for resale. In time, I encountered problems with frame shops working on my artwork. Among other things, they used lower quality materials and methods. It was during this time, I decided to get into the business.

During my years of owning the business, I have come across numerous documents, autographs, as well as other art objects damaged by improper framing techniques and materials. This included a mat burn around the perimeter of a document caused by the item being in contact with an acidic mat board. As an active participant in the field of manuscripts, it bothers me to see these pieces deteriorate in front of my eyes by an industry that should have the knowledge to know otherwise. Even skilled restoration techniques from a trained conservator may not be enough to restore damaged items to their original condition.

This article will examine framing and mounting techniques and materials which should be used in the framing process. Framing, if done properly, will provide many years of pleasure and appreciation. While at the frame shop, the collector or dealer should ask questions to the manager on duty regarding the framing of his or her documents. It is important to know how the framer will handle and frame your items for preservation and enjoyment.

There are some terms which need to be discussed. Conservation refers to the materials and methods used in the framing process to preserve and protect the item being framed. Related terms such as archival, preservation and museum quality are often used as well. Unfortunately, I have seen many framing establishments use these terms without actually employing them. Glazing refers to the glass or acrylic (i.e. Plexiglas) material that is placed into a frame. Finally, “acid free” may not really be! This term is very loosely used, and in most cases, may be a misnomer. Materials, such as mat board and foam backing, are sold to the framing industry with this labeling, when, in fact, the opposite may be the case. These materials may contain contaminants, such as wood pulp, that may harm artwork over a long period of time. Make sure that the framer uses materials that have a solid rag (cotton) based ingredient which may not decompose or outgas over a period of time.

Most collectors are not well versed on framing and take their valuable items to a local frame shop entrusting their skills. When entering the shop, the first thing you need to do is examine the overall appearance of the frame shop. Their walls speak volumes! If the shop has inexpensive metal framed contemporary entertainment posters adorned on the walls, you need to ask yourself “Would this place be a good candidate to frame my rare George Washington signed letter?”

Is the staff helpful in answering any concerns you may have with your framing project? Ask to speak to the actual framer who will be working on your documents. Make sure that he or she has the knowledge and care in handling, mounting and framing your artifacts. Ask for a mini tour of the work area. Speak to the owner if you are not satisfied with what you see or hear. It is better to for both parties to have a mutual understanding of what is to be done, then face any problems later.

Now, let’s discuss the proper methods of framing important and valuable manuscripts. Depending on the paper content of the document, hinging/mounting techniques may vary. Vellum, on one hand, would require encapsulation in Mylar or sturdy archival Mylar/rag paper corners. Any type of moistened hinging (Japanese tissue, etc.) may not be strong enough to hold the vellum, thus causing the document to release from the matting. With any type of paper or vellum, encapsulation works very well. Just make sure it has been properly deacidifed before encapsulation to neutralize the paper (vellum does not get deacidified). Other than vellum or thick paper, applying Japanese tissue with proper application is another alternative; however, avoid any non-reversible methods or materials. This means no tapes, glues, so-called acid free mounts or hinges.

Regarding mat boards, make sure only solid archival cotton rag mattes are used, not the more commonly “acid free” mattes, which have a wood pulp base. Framers not familiar with this mat board may recommend this to collectors, concerned that a customer may not want to pay the extra charge for a solid cotton rag matte. If you do not want to pay a slight premium for quality, then be prepared for problems.

On the subject of backings, make sure the frame shop also mounts the document directly onto a 100% cotton rag matte. All too often, I have seen artwork mounted directly on foam or other improper backing, even regular corrugated board! This is harmful to the item being framed because there needs to be a minimum 4 ply rag barrier between the item and the final backing.

Finally, glazing (glass or acrylic) is another important issue to consider. Most of us have heard of UV filtering, etc. This is extremely important. Because of the amount of light that is transmitted in an average room, it is vital that the glazing consists of UV filtering properties, at least 97 percent. A NOTE OF CAUTION: Even with this type of glazing applied to your framing project, it is very important that you still keep your document away from direct sunlight.

A final note regarding your personal framing, please ask the framer to book hinge the finished mattings. This means that instead of tape or gluing down the top mat to the bottom mat (which will cause serious problems), the framer applies an archival hinge to the top and bottom matte, so if you need to remove the autograph from the frame, it can be done easily without the chance of damaging the contents of the frame. Plus, if a document releases from the hinging, if there is double sided tape that was used to attach the top and bottom mattes, the document can slip into the tape and become damaged.

A point needs to be made about purchasing already framed autographic material. We all, including myself, have purchased autographs which have been previously framed. For the most part, the framing jobs have had negative effects on autographs. In these cases, documents have had mat burns, were improperly mounted, and at one time, I have encountered a situation where the mat was affixed so securely around the autograph, it ripped the letter (this framing job was obviously done by a framer who did not want to spend the extra few seconds to apply a proper mat hinge). Unless you absolutely know how the item was framed, take into account what unknown possibilities may be lurking within the frame!

For example, at the time of writing this article, I purchased an Abraham Lincoln document, described as being “archivally matted and framed,” from a well known autograph auction company. Upon receipt, I removed the document from the frame. It was poorly framed as it was mounted directly onto foamcore. And, instead of true conservation glazing, non UV filtering glazing was used. (By the way, a sticker on the back of the framed stated that the glazing was UV filtering!) Lastly, the document was mounted on linen. This was not mentioned in the description, nor was it evident upon inspection outside the frame. I took the document to a prominent conservator to remove the linen.

As a collector or dealer, it is important to know a well-trained conservator to tackle problems including documents affixed to boards, old tape/glue stains, etc. Since almost my inception into the business, I have used Frank Mowery, who is head of conservation of the Folger Shakespeare Library in Washington, D.C. He has more than 30 years experience in the conservation field. I have recommended him to dealers and collectors for many years.

In conclusion, I cannot emphasize enough that collectors and dealers need to take the utmost care in maintaining the condition of manuscripts while in their possession. After all, it is our duty to act as curators for these items so that future generations continue to enjoy and appreciate our nation’s and global history.

I collect scrimshawed whale teeth, and needed a repeatable method of a making high-resolution images of an entire tooth [Image #1], as well as sharp, close-up images of minute detail, such as an artist’s signature [Image #2]. The same requirements are needed for pocket watches, broaches, coins, necklaces, rings, silverware, pocket knives, small art objects, etc.

Using a digital camera would involve a macro lens, shadowless lighting, a tripod, a background, etc., and even then, repeating or improving an image is difficult. But using a standard, glass-topped flatbed scanner allows me to capture exactly what I want, with “preview” to make small adjustments, and high Dots-Per-Inch (DPI) close-up JPGs.

Most of my scanner images are captured with the lid completely removed. This provides a jet-black background, which contrasts nicely with my ivory [Image #1] or jewelry [Image #3] subjects. For very dark objects, a light-colored cloth may be draped across the object for outline contrast.

I am currently using PaperPort 11 software, and a Visioneer One Touch 9220 USB scanner. I purchased both via online auction sites. Any good scanner and any good software program should work.

The key to good scans is high resolution. The (side-to-side) width of an object makes no difference in scanning time, but the (start-to-end) length will effect scanning time. The larger the object, the smaller DPI needed; and the smaller the object, the higher DPI needed to make a decent-sized, detailed image.

I always lay a narrow, 6-inch steel ruler along bottom (start) edge of glass [Image #4], then place my items parallel to, and 1/8th-inch from ruler. For an item 2-inches to 3-inches deep (from ruler), I use 300-dpi; 3- to 6-inches = 150-dpi [Image #5]; >6-inches = 75-dpi. For smaller objects of 1-inch to 2-inches, I use 600-dpi [Image #6], and for items less than 1-inch (such as signatures, hallmarks, etc), I use 1200-dpi [Image #2, which is on backside of scrimshaw in Image #1].

Sometimes I use transparent tape to hold a round-bottom item in exactly the right position & attitude to capture the desired image. I use the preview to make adjustments until I am happy with position, then use the PaperPort software to crop tightly, and make a scan at correct DPI.

Once an image is captured, I again use the PaperPort software to zoom-in to a very high magnification. Now I use the black “pencil” function to erase dust spots & tape images in background. Once it is clean, I save the edited image. If needed, I rotate the image to proper orientation for viewing.

Letha Berry (LovesAntiqueDolls) has recently attempted scanning, and has shared a scan of her 13-inch tall, French Fashion Doll by Barrois, circa 1865 [Image #7]. She is quite pleased with the detail captured by scanning.

Good luck, and good scanning!

Douglass Moody

A middle-aged friend recently told me the story of her visit, with her sister, to her grandmother’s house. While they were there, they decided to help spruce up the place beginning with the old rocking chair in the front parlor. It had a broken rocker, the springs were falling out, and it was black with age and neglect. The sisters stripped it, replaced the broken rocker, refinished it and had new upholstery put on.

My friend said it looked really good after all that work, and she and her sister were so proud of themselves until a neighbor rained on their parade by telling them they had destroyed the value of the chair by doing all that work. I asked my friend what the nosy neighbor did for a living. Was he an antiques appraiser? A dealer? A knowledgeable collector? No, just a nosy neighbor giving unsolicited and ill-informed information.

One of the most common phrases in any conversation regarding older and/or antique furniture is “destroy the value.” This can be a valid concern in some cases, but it is not a universal truth that restoration or repair, if properly done, “destroys the value” of anything. In order to make the decision to embark on a restoration or repair project, you must determine two important points, current “value” and ultimate objective.

This Eastlake chair, circa 1880, has original finish, original woven-hair upholstery and is missing the top of the crest rail. Current value—essentially 0 by any measurement.

Determining the value of a given piece of furniture is, at best, difficult. For example, value to whom and value where? Prices in Detroit are different from prices in Birmingham, Ala., and Phoenix. And is price the best way to determine value? To a dealer, it probably is, but to a family member, it probably is secondary or not even a consideration at all. Value, like beauty, is highly subjective and sensitive to current styles and events.

For comparison purposes, three main categories of “value” might be defined as a) Market Value, b) Utilitarian Value and c) Sentimental Value.

MARKET VALUE—If you decide that monetary value or market price is to be your guiding principle in a project, then you have to get out in the market. Go to shops, and see what things sell for. Call a few reputable dealers, and ask if they have an item similar to yours and what it sells for. Read the newspaper classifieds in your area to get a feel for the market. Especially read trade papers that carry auction results from sales IN YOUR AREA. Check realized auction results on Worthopedia.

Above all, be realistic about comparisons. Be sure that you are comparing apples to apples in terms of age, provenance and especially condition. A rocking chair with a broken rocker is not worth as much as an identical chair that is not broken. If you are unsure about the details, ask someone. Most knowledgeable dealers are willing to help you determine value on an informal basis.

The springs are falling out of this Depression-era rocker. A good fix will enhance all of the types of value.

Time spent at the library or perusing the shelves in a good bookstore can often be very enlightening by helping you determine style and period for use in price comparisons, but use these facts only as a general guide. Remember that the market places a higher price on things that have intrinsic value due primarily to their age and rarity. Market price, by definition, is what someone is willing to pay for an object in a given time and location, NOT what is listed in a so-called “price guide.”

UTILITARIAN VALUE—If the piece is not old or rare, it still may have significant value based on its utilitarian functions. For example, a Colonial Revival china cabinet from 1935 may not have the intrinsic collector’s value of, say, a Georgian breakfront, but it will serve as a place to display your cut-glass collection as well as or maybe even better than a brand-new curio cabinet from the local furniture store, provided, of course, that the older cabinet is in good working condition and the finish is decent. In addition, the Colonial Revival piece has already proven itself to be durable by surviving 70-plus years so far, and it probably will last a good many years yet, and someday may even attain some collector’s value.

Another popular item in this category is the armoire converted to an entertainment center. As armoires, few pieces have much collector’s value, but when conversion is completed in a craftsmanlike manner and no great violence is done to the piece, the utilitarian value is actually enhanced by finding a new use for an old piece. If you have to do some restoration work on a piece in this category, you probably will not reduce the value at all but rather enhance the utilitarian value in the long run if the restoration, including refinishing, is well done.

SENTIMENTAL VALUE—Going back to the opening paragraph about the sisters, why did they spend all that time and money on a broken-down chair? For the market value? For the utilitarian value? Probably not. They did not intend to sell the chair, and there certainly were other chairs in grandma’s house. They did it for the sentimental value of the rocker. Grandma probably remembered the chair when it was new, and it looks that way again. The sisters will always have the chair to remember grandma by and their time together working on it. What is that worth? It’s priceless. Sentiment is a very expensive hobby.

– Fred Taylor is the American Furniture Worthologist and an expert in furniture restoration. He’s published numerous articles on antiques on WorthPoint and in “Antique Trader,” “Chicago Art Deco Society Magazine,” “Northeast Magazine, “Victorian Decorating and Lifestyles,” “Professional Refinishing” and “The Antique Shoppe Newspaper.” Read more about Fred on his Worthologist profile, and check out his book “How To Be A Furniture Detective” and Fred and Gail Taylor’sDVD, “Identification of Older & Antique Furniture” on their very informative Web site, Furniture Detective.

Other articles by Fred Taylor:

Identifying Wood Species—Part I

Identifying Wood Species—Part II

Identifying Wood Species—Part III

A Fortune from the Kitchen Table

Understanding Antiques—the Arts and Crafts Movement

Understanding Antiques—the Arts and Crafts Movement Pt. 2

Antique Seating: What Are You Sitting On?

Dating Antiques? Check the Joinery

WorthPoint—the premier Web site for art, antiques and collectibles

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/be-curator-your-own-collection http://www.worthpoint.com/blog-entry/be-curator-your-own-collection#comments Sat, 20 Sep 2008 22:21:49 +0000 Lynn Rosack http://blog.worthpoint.com/?p=2230459

What exactly are the Responsibilities of a Curator?

A Curator preserves history by collecting, selecting, cleaning, protecting, evaluating, interpreting and displaying objects of interest.

I am the Curator of my own collection, as you can be of yours!

I feel it’s not enough to accumulate antiques and collectibles … with ownership comes an implied duty to care for them and to share their meaning with others. A well-displayed collection is not only a testament to its owner/Curator but an inspiration to others who view it.

What can you do as Curator to best Honor your Collection?

1. Collect the best examples/upgrade as possible
2. Clean, then keep objects in display condition
3. Catalog each object with a description & photograph
4. Create displays that are both attractive & instructive
5. Continue to learn more about your objects
6. Share your knowledge with others
7. Volunteer to display your objects in public
7. Join an organization of similar collectors

Display, then Share Your Collection with Others

As a member of the Pressing Iron and Trivet Collectors of America, I have been fortunate to meet other “Curators” of personal collections. A lot of time, effort and love go into first acquiring, then displaying their prized irons and trivets. When I was in Kansas City recently for the 2008 Convention, those of us still in town on Sunday went to an Open House hosted by two local Members. The husband and wife housed their collection in a special room in their basement … and as you can see from the 1st photo, the display was both organized and attractive.

I have one long hallway where I display the majority of my trivets, but I find places to tuck in other small displays- like my collection of antique trivets surrounding an old French gilt mirror. And a low wall dividing a kitchen from the breakfast nook provides an ideal place to display trivets.

There are always opportunities to share your collection with others in your community! Contact your local paper and ask if they would be interested in doing a feature story about collecting. If your Public Library has locked display shelves, volunteer to create a display. Or take a few of your antiques to a local nursing home and present a program. Some of the audience may have used those very items in their youth!

With fll and then winter coming, there will be more time for indoor activities. Consider evaluating the current status of your collection. Have you kept accurate records and are your items in best condition and on display? If not, then consider (as Curator) what you need to do!

Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia.

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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.

Let’s start with the absolute basics: all serious collectors desire items that are as near perfect as possible, and the closer to perfect an item is, the higher the price it can command.

On the other hand, movie paper in all conditions sells. Internet auctions of movie paper routinely sell (clearly labeled) lesser condition items with fading, tears, foxing, water stains, pin holes and a variety of other defects. Many of the worst defects on movie posters, lobby cards, inserts, and stills are along the edges where they can be hidden by mats or frames if desired primarily as a display item.Some dealers even note in their ads that they buy movie paper in “any condition.”

Factors affecting movie paper prices

It is important to note that factors other than condition affect movie paper prices. Many films were reissued with new art over the years. A serious collector checks to make sure whether the art is from the first run or a reissue.

Reissue movie paper may still bring considerable prices for very popular films. The easiest way to tell a reissue from an original is by comparing the copyright date of the paper to the initial release date. We’ll cover that in more detail in another paper.

Reproductions are usually worthless as collector’s items, although they may dress up a wall display of movie art.

The older movie paper is, the more you should expect some defects, particularly with photographs.

Common movie paper defects

Here’s a list of common movie paper defects:

Bleed-throughs – Writing, stamps, tape, stains or other marks on the back of the paper visible on the front. Such marks on borders do not affect value so much as those on prominent parts of the item.

Creases – Lines from folding, crumpling, or crimping the item. Their affect on value depends on how many creases exist and where they are. Creases, which may be deep enough to damage the item enough to crack through the color, leaving a white space, should not be confused with wrinkles, which are surface defects.

Fading – Loss of color and detail caused by exposure to sunlight or age leades to considerable loss of value in movie paper. It is less of a problem on the edges than on principal artwork.

Pin holes, drill holes, staple holes – All holes in movie paper affect its value, but those on edges and not torn generally won’t lower value nearly as much as those more visible. Drill holes were used to “mark” posters once used on building walls by placing them on a stack and drilling a hole top center.

Writing marks – Many exhibitors marked up movie paper for a variety of reasons, but not a few bored movie staffers handling the art occasionally doodled mustaches on stars, among other defacements. Obviously, the extent and type of marking will seriously affect a poster’s value. Actual marks off the art by exhibitors (With Bugs Bunny Cartoon Saturday!) bother some collectors less.

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!

Grading condition for military collectibles is not a simple process. Militaria is different from many other collectibles, where flawless examples are ideal and items with condition issues have less value.

The two most important variables that complicate grading militaria are scarcity and provenance. Scarcity is self-explanatory. Provenance is the historical link between object and owner. Items that are not rare and lack provenance can simply be graded using a scale that ranges from “relic” (meaning ground dug and rough) to “Unissued” (out of the crate and barely touched).

Provenance is interesting in collecting militaria because it often provides clemency to the rules of condition. I will explain why. Many military objects collected were intended for use in combat. These items include helmets and headgear, field uniforms, field gear, firearms, and edged weapons. If the item shows use but has provenance to support the claim that it was used in combat, desirability for that item increases greatly.

For example, in WWII prior to D-Day, most US 101st and 82nd Airborne personnel were issued two sets of reinforced jump jackets and pants. Typically one set was impregnated with a chemical called CC-2 to protect the wearer from exposure to gas. The impregnated set was worn on the Normandy jump while the untreated set remained in England. While non-impregnated jump uniforms are rare, finding an impregnated set that was worn in combat is extremely rare. Few documented examples survive today and most show wear and tear from combat. Documented combat used sets are worth many times more than the clean sets.

Another example is a Civil War “shell jacket” recently sold at auction. It had excellent provenance of being worn at Gettysburg. In fact, the jacket had a repaired hole where the wearer being shot in it! This jacket brought over $55,000 while one in comparable condition without provenance would bring less than $2,000.

With the exception of Civil War collectibles, provenance for US militaria did not gain importance until recent years. Prior to this shift, a majority of collectors were “type collectors”, where their focus was on single facets of militaria like helmets, daggers, medals, or patches. When a veteran grouping was acquired from an estate, the items were broken up and scattered in the wind, making their provenance very difficult to verify or maintain afterward.

The hobby is changing and more collectors are expanded their interest in military objects to include the history of the individuals that used them. Many militaria collectors tolerate honest wear if it’s caused by normal use. Bad wear is often the result of improper storage and can seriously diminish the value of an item. Examples of bad wear include dry rot, mildew, mothing, mold, paint spots, pitting, rust, and corrosion. Once bad wear sets in, it is very difficult to reverse the process and it detracts from the presentation and desirability of a piece.

Bad wear is particularly frowned upon among items not used in the field like dress uniforms, presentation swords, medals, paperwork, photos, plaques, and awards.

There are instances when an item is rare enough that bad wear is tolerated. An example would be Civil War garments that have mothing. Today, many of these pieces look like Swiss cheese, yet their scarcity makes them a coveted item and a centerpiece in any collection.

In summary, if a militaria item is not considered scarce and does not have provenance, it can be graded on a condition scale much like a coin or a stamp. If the item is truly rare and/or has verified, significant provenance other factors apply when assessing value. The rule of thumb for militaria (and any collectible) is strive to buy the best. Time and money is wasted when you buy items you intend on upgrading in the future.

Chris Hughes is a WorthPoint Worthologist specializing in 20th century militaria and the owner of Rally Point Militaria and Vietnam Uniform – Military Collectibles sites.