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.

WorthPoint—Discover Your Hidden Wealth

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.

What Happens in Vegas . . .

Democrats will gather in Denver, and Republicans will convene in St. Paul to select their presidential nominees. But 300 fans of political-campaign collectibles have already completed their pilgrimage to the Strip. The annual meeting of the association known as the American Political Items Collectors wrapped up August 7 at the Riviera Hotel & Casino. Clearly, these collectors know how to have more fun than convention delegates . . . or at least they know how to combine their interests with free buffet coupons.

Not surprisingly, items related to Barack Obama’s campaign were in demand at the auction tables. The New York Times reports that a button issued at the Illinois senator’s campaign kickoff in February 2007 sold for $150 on the first day of the gathering. Check the American Political Items Collectors Web site for regional fall auctions beginning in September.

Double Eagle or 529 College Fund?

Hot coin debates typically are the exclusive domain of numismatists. But questions surrounding the modern version of the 1907 Double Eagle gold coin to be offered next year by the U.S. Mint already are piquing the mainstream media. Kimberly Palmer, a consumer affairs editor at U.S. News & World Report, recommends against buying the coin as an investment.

There’s No Place Like Home

German advertising mogul and art collector Christian Boros has renovated a World War II bomb shelter in Berlin to protect both his family and his contemporary paintings. Bloomberg News reports the structure has concrete walls more than 6.5 feet thick and metal doors. Nazi architect Albert Speer supervised the construction in 1942. It was large enough to hold 2,000 people during Allied air attacks. Boros combined 120 chambers into a more manageable 70 rooms, while adding some above-ground features in a glass box. Sounds cozy.

All in the Family

Several members of a notorious British crime family have been sentenced to decade-long prison terms for stealing an estimated $145 million in art, antiques and collectibles from manor homes southwest of London. The Daily Mirror reports police uncovered a $25 million cache of china buried in a pasture. Most of the remaining loot was never recovered, and investigators say it probably was sold in Russia, India and China.

In the biggest robbery of the 2005-2006 spree, members of the Johnson gang rammed SUVs through two sets of security fences and a window to grab antiques, jewelry and china at the Wiltshire estate of property tycoon Harry Hymans. Court records on the cases were unsealed on August 7.

Scale, Balance and Placement of Your Antiques and Collectibles

Scale is probably the most important word used in the design business and oftentimes the most misunderstood. By scale, we mean size, which also includes shape, dimension and proportion. The scale of your antique furniture, objects and collectibles plays a pivotal part in balance. For the sake of this article, balance does not mean symmetry but rather unifying the space within spatial constraints, which is then ultimately accomplished by placement. Sounds convoluted. Let me take the mystery out of it and give you some practical observations.

Scale—Claiming the Space

Above is pictured an interior wall in a dining room that has for the most part no existing architectural interest, meaning no crown molding, a somewhat insignificant baseboard, no chair rail or paneling. What it does have going for it is a pretty uninterrupted expanse that will take a large-scale piece of furniture, in this case a very formal 19th-century English, ebony credenza with Wedgwood plaque insets. Center it on the wall using it as the principal, backbone, starting point, and build out the wall from there. Rule of thumb: large-scale furniture for large rooms, large-scale furniture for small rooms. (Don’t clutter a small place with small things: thing big.)

Balance—Expanding on the Space

You will notice that the walls of this room are painted a soft, chalky yellow. The color acts as a natural foil and serves to complement rather than to compete with the use of strong black color that predominates the wall by way of the credenza and the unframed architectural drawing done in India ink on fiberglass. This drawing, measuring approximately 4 feet by 6 feet, is centered over the credenza and serves to balance the space above the credenza. Framing the drawing is a pair of Italian gilt metal-and-crystal candle sconces. When placed at equal distance beyond the credenza, they help to visually expand and balance the space.

Black candles are used in the sconces to continue the black color theme. The positioning of the pair of Queen Anne armchairs, which are dragged into service for diner parties, helps, too, to balance the sconces. What we’ve got here is organized layering. To juxtapose the balanced alignment of furniture, drawing and sconces, an oversized Dummy Board placed just off to the left provides an amusing visual distraction.

Placement—dare to be spare

There are just fifteen items on display on or in the credenza, ranging from a Chinese export teacup and saucer, and a 1950s tin toy to an 18th-century lacquered Chinese tea table. Each item, in this eclectic collection, has been selected from an over-large collection of good, bad and indifferent antiques and collectibles to demonstrate their diverse appeal and also to speak about the owner of the collection.

Placement of these items is not random but rather positioned with a seasoned eye to create order, balance and harmony even with the seeming randomness of the collection. An 18th-century iron gear is coupled with a granite goose-egg stone from Maine along with a marble urn that is displayed on top of the tea table creating, in turn, its own tablescape. A sepia photograph framed in brushed metal and silver acts as a magnate to draw people to the spot. (People love looking at photographs.) It also conceals a small up-spotlight that serves to illuminate the drawing at night. Glass Regency column candlesticks in hurricane glasses complete the tableau.

So, to effectively display your antiques and collectibles, aim for good scale, balance and placement.

– Christopher Kent is a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

Scale, Balance and Placement of Your Antiques and Collectibles

Scale is probably the most important word used in the design business and oftentimes the most misunderstood. By scale, we mean size, which also includes shape, dimension and proportion. The scale of your antique furniture, objects and collectibles plays a pivotal part in balance. For the sake of this article, balance does not mean symmetry but rather unifying the space within spatial constraints, which is then ultimately accomplished by placement. Sounds convoluted. Let me take the mystery out of it and give you some practical observations.

Scale—Claiming the Space

Above is pictured an interior wall in a dining room that has for the most part no existing architectural interest, meaning no crown molding, a somewhat insignificant baseboard, no chair rail or paneling. What it does have going for it is a pretty uninterrupted expanse that will take a large-scale piece of furniture, in this case a very formal 19th-century English, ebony credenza with Wedgwood plaque insets. Center it on the wall using it as the principal, backbone, starting point, and build out the wall from there. Rule of thumb: large-scale furniture for large rooms, small-scale furniture for small rooms.

Balance—Expanding on the Space

You will notice that the walls of this room are painted a soft, chalky yellow. The color acts as a natural foil and serves to complement rather than to compete with the use of strong black color that predominates the wall by way of the credenza and the unframed architectural drawing done in India ink on fiberglass. This drawing, measuring approximately 4 feet by 6 feet, is centered over the credenza and serves to balance the space above the credenza. Framing the drawing is a pair of Italian gilt metal-and-crystal candle sconces. When placed at equal distance beyond the credenza, they help to visually expand and balance the space.

Black candles are used in the sconces to continue the black color theme. The positioning of the pair of Queen Anne armchairs, which are dragged into service for diner parties, helps, too, to balance the sconces. What we’ve got here is organized layering. To juxtapose the balanced alignment of furniture, drawing and sconces, an oversized Dummy Board placed just off to the left provides an amusing visual distraction.

Placement—dare to be spare

There are just fifteen items on display on or in the credenza, ranging from a Chinese export teacup and saucer, and a 1950s tin toy to an 18th-century lacquered Chinese tea table. Each item, in this eclectic collection, has been selected from an over-large collection of good, bad and indifferent antiques and collectibles to demonstrate their diverse appeal and also to speak about the owner of the collection.

Placement of these items is not random but rather positioned with a seasoned eye to create order, balance and harmony even with the seeming randomness of the collection. An 18th-century iron gear is coupled with a granite goose-egg stone from Maine along with a marble urn that is displayed on top of the tea table creating, in turn, its own tablescape. A sepia photograph framed in brushed metal and silver acts as a magnate to draw people to the spot. (People love looking at photographs.) It also conceals a small up-spotlight that serves to illuminate the drawing at night. Glass Regency column candlesticks in hurricane glasses complete the tableau.

So, to effectively display your antiques and collectibles, aim for good scale, balance and placement.

– Christopher Kent is a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

Every stick of furniture has a purpose. We sit on chairs and eat at the dining table. But if decorating was merely about making a room functional, we would all shop at IKEA and be done with it.

We spend years accumulating art, antiques and collectibles to enhance our spaces and express our values and interests with things that are rare, interesting and beautiful. Or, in some cases, a little eccentric.

Then what to do with it all? When it comes to art, antiques and collectibles, it’s not all about the finding and the acquiring. Presentation is the step that is frequently forgotten. Your collection’s potential is diminished if it is displayed carelessly.

Many times I’ve walked into the home of a veteran collector and suffered the bends as I pick this up, or move that over, just so I could enter the room. It’s as if they were living in a warehouse rather than a home, with their collectibles still in their original newspaper wrappings. Or, some people hide their collectibles under the bed, in a closet or up in the attic—anywhere except where they can be seen and appreciated. It’s as if collecting was a guilty pleasure for them.

It’s time to bring that collection out into the light (not direct sunlight!) and celebrate it.

Here are some guidelines for decoration and presentation that will highlight your collectibles while also making the room work better for the people who live in it:

• Less is always more. Spare is best. Hanging one large painting creates drama; 14 teeny ones create confusion.

• Don’t shove furniture against the wall where it looks like it’s waiting to be invited to dance. Pull it into the space. Place a sofa so it flanks a fireplace, and position a long large table behind it. Now you have a table on which to display your collectibles where people sit.

• Display your collection of arrowheads on an end table by the sofa. Position a lamp so that it illuminates your collection. Leave some space; you don’t have to show all your arrowheads at once.

• Create interest with size and scale. Instead of a lamp, place two weathervanes from your collection on the end table.

• Collections of small, fragile objects, such as snuffboxes, should be secured in a glass-topped case. Position the case beneath a lamp on the table to illuminate it for proper viewing.

• Why do people display hundreds of books they will never read again? An open credenza or bookcase placed between the windows is an excellent way to display your collection of cast-iron toys.

- Christopher Kent is a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine arts broker and president of CTK Design.

– To post your design question for Christopher, click on the words “Add a new comment” in the left-hand column.

Related articles by Christopher Kent:

How to Clean Antique Table Linen

How to Clean Silver – Buyer Beware

Part 1 “How to Start a Baseball Collection”

Part 2 “Where to Find Baseball Cards”

In this third part of “Starting a Baseball Card Collection,” I want to discuss how you can store your cards in a way that will preserve their integrity and keep them organized.

Many of my cards are stored in baseball card albums. These albums are similar to photo albums, and are popular because they provide an easy way to display your collection. These binders are full of plastic sheets that hold 9 cards a piece. You can simply turn through the pages and view the cards in your collection.

It is worth noting that I do not keep my most valuable cards in these albums. I use the baseball card albums to hold my lower/mid-level cards. The reason for this is that the pages are handled and flipped through so often that you run the risk of a card being damaged from excessive handling and overexposure. Maybe I am a little overprotective, but I don’t like to take chances with my more valuable cards.

I also have a large number of cards stored in individual plastic sleeves. There are 2 main varieties of these plastic sleeves: soft and hard. I like to place my more expensive cards first in a soft sleeve and then into a hard plastic covering. These hard plastic sleeves, also known as top loaders, are an excellent choice for protecting your mint cards because they protect the fragile corners from getting bent.

Serious collectors may wish to take their protective measures even further by using screw down cases. These cases are typically reserved for the most expensive baseball cards as they can be fairly expensive. A screw down case consists of 2 thick plastic sheets that screw together to hold the card firmly in place. If you have a rare, pricey card that you want to make sure no one ever touches, a screw down case will provide you with the security that you require.

Using all of these plastic sleeves leads to the obvious question: What do I do with all of these cards in sleeves? In order to best protect your investment, you need to buy special baseball card storage boxes. These boxes come in a variety of sizes to meet your collection’s storage demands.

In addition to providing protection for your collection, these boxes also help you keep your cards organized. You can organize your cards by year, team, brand, or price range. What is important is that you organize it in a way that makes sense for you. An organized collection is easier to preserve and manage because you always know where all of your cards are.

There are a variety of ways to store your baseball cards. The method you choose is determined by the value of your collection, the space you have for storage, and your budget. The main thing is that you do not leave your cards exposed to damage from outside forces. Store your investment in a cool, dark place so that they do not lose their value from heat and light damage. Remember, an organized collection is a happy collection!

Online supply sources:

BCW Supplies – online source for purchasing albums

Pro-Mold Direct – online source for purchasing screw down cases

There are many products out there on the market assuring you that their quick and easy method will not only clean your silver to its original pristine color and condition but will provide testimonials attesting to the efficaciousness of the product supplied by museums, cathedrals and “as seen on TV.” Ultimately, when done, they’ll have you convinced that your piece of silver will be whistling Dixie.

Unfortunately, these products are basically quick and easy dipping compounds or chemically-treated wadding or cloths that with prolonged use may ultimately damage your silver, whether it’s sterling or silver plate. There is a caveat to the use of these products which is, only severely tarnished (Black) silver, or silver that is corroded should be dipped, but once dipped, and thoroughly washed, should then be cleaned with a cream polish to remove any lingering tarnish or chemical residue, and will restore some of the original luster.

”Skinned” silver can’t be restored

In the past compounds, known as jewelers rouge (calcined ferrous sulphate), were liberally and almost exclusively used to clean silver. As a result most 18th and 19th century silver has a surface that is scratched and has a hard brilliant shine instead of a soft lustrous shine. This kind of silver, in collector’s parlance, is known as being “skinned,” and there is virtually no way, short of professional conservation, to regain the original patina.

Some of these cleaning compounds are still on the market and still being used. The process is to liberally apply, let dry, then rub like the dickens to remove the dried-on polish. The results with the kind of rubbing this requires is to remove, in silver plate, by degrees, the thin layer of silver applied to the base metal, and in sterling, to wear down the silver making it thinner by degrees. These products are to be avoided at all cost.

Here’s how to clean silver

Use a cream polish cleaner specially formulated for cleaning silver, never a cream cleaning compound formulated for other metals like brass and copper. I recommend Wrights Silver Cream–this company knows their stuff and has been producing an excellent products since the 19th century.

Liquid cleaners are less effective and more cost-prohibitive, because you use more of it to accomplish the same job, and it can leave a residue especially in silver filigree (ornate open work) designs that can build up and is difficult to remove.

Rinse, do not soak, the item to be cleaned in clear hot water prior to cleaning to remove dust and grime that has accumulated on the surface. Always use a soft cotton cloth when washing or drying silver-this is where the old under shirts come in handy.

Apply the silver cream to the surface with the sponge that is provided. Depending on the degree of tarnish, rinse out the sponge frequently in warm water, reapply a small amount of silver cream and continue the work on the piece until finished.

If you are cleaning filigree silver (open pierced work) use a SOFT toothbrush applied with silver cream and gently work the cream into the design, slowly dry the filigree work so that the cloth does not catch in the pierced open work and therefore damage it.

Do not over-clean silver

By that I mean, if your silver is engraved or an elaborate design is etched into the surface, allow some of the tarnish that has accumulated to remain in the design. This will actually enhance the design.

When item is thoroughly polished rinse in soapy warm water, rinse again in clear warm water, wiping with a soft cloth, then dry thoroughly. If you are drying silver boxes or items with attached lids do not hold the item by the lid as this could damage the hinge. Make sure the interior is completely dried. Once dried, if the piece is to be stored, try not to handle the item too much as the oils and acids in our skin will leave marks.

How to store your silver

Large silver pieces should be stored or displayed in airtight cabinets, as this type of storage will retard the tarnishing process. Specially designed silver storage bags can be used for larger silver pieces not on display.
When it comes to flatware, if you have a silver chest specially designed for storage this is best, otherwise use silver bags that are designed with slots to hold the individual pieces.

Regular use of silver flatware will enhance the patina and the enjoyment garnered from the use is tremendous. Avoid putting silver flatware in the dishwasher as some dishwasher detergents can actually tarnish silver.

Never soak knives that do not have solid handles. Most older or antique knives have a loaded compound like tar or plaster of Paris that holds the steel tang (metal shaft) in place, so soaking these types of knives will cause the filler compound to swell and will eventually split the silver handle.

Pay particular attention to knives with mother-of-pearl handles or ivory handles, these must be cleaned by hand. Some older or antique knives have steel blades, if not properly cleaned and dried will rust. There is an excellent product, Barkeepers Friend that is ideal for cleaning tarnished or rusted steel blades.

Get in the habit of regular silver cleaning

The truth is, most people clean their silver twice a year, whether it needs it or not. Usually this cleaning involves a holiday which is fraught with other time constraints and tension-producing situations, therefore making the silver cleaning arduous and yet one more thing that has to be done. If regularly cleaned, used and enjoyed, however, the psychology of silver cleaning can be altered.

Related Links:

Here are some links to products that will help you in the cleaning and preserving of your silver.

Wrights Silver Cream www.jawright.com
Bar Keepers Friend www.barkeepersfriend.com
Siverguard Storage Bags www.silverguard.com

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.

When discussing comic books you often will see certain terms thrown around to describe book’s condition; like “Very Good+”, “Near Mint” and “Fine”. When represented properly, they can be very helpful, especially when buying comics on-line and you can’t directly see what you’re getting. But without knowing the state of the comic they describe or the boundaries of each term, a word like “Good” is meaningless.
Let’s define the terms, so you can properly judge the comics you hope to buy.

Comics are assigned conditions that range from “Mint” to “Poor. I’ll start with Mint and work my way down to Poor. There are sub-categories, but I will limit myself to the major conditions. All the condition definitions in this article are taken from the Official Overstreet Comic Book Price Guide 2008, the most respected and widely used comic book price guide. (You should get a copy.)

Mint – This is the best, museum quality, perfect condition. This describes a comic that not only has never been handed, but was rescued directly from the presses and preserved. Overstreet describes near mint condition as:
Nearly perfect in every way. Only subtle bindery or printing defects are allowed. No bindery tears. Cover is flat with no surface wear. Inks are bright with high reflectivity.

The comic should not have any folds, impressions or dents. It should be bound securely, square and centered. Mint condition is an extremely rare, even in new comics, and is not a term that is liberally used by reputable collectors.
Generally, it’s wise to avoid comic sellers that say their item is in mint condition unless the book carries a professional grading stamp. Grading stamps can come from both grading companies and well known comic dealers.

Near Mint – Because mint condition comics are so rare, this is the more common and generally preferred condition of collectible comics for back issue collectors. Near Mint is described by the Overstreet guide as:
Nearly perfect in every way with only minor imperfections. Only subtle bindery or printing defects are allowed. No bindery tears.

Near Mint comics should not have the appearance of ever being handled. A large percentage, if not all, the back issue comics that are listed in Mint condition by on-line auctioneers are actually closer to Near Mint (or even lower.) Near Mint shows only very minor defects. Again, no folds, tears, dents, depressions or printing errors are allowed. Near Mint comics are also very rare. It’s safe to say that most people claiming their back issues are in Near Mint condition may be mistaken, or even misrepresenting, their comics. Some collectors feel that Near Mint is the best condition in which a comic can exist as no issue will ever be perfect.

Very Fine – The bulk of the comics that I have seen offered in Near Mint condition have actually been closer to Very Fine. Overstreet defines Very Fine condition as:
An excellent copy with outstanding eye appeal. Sharp, bright and clean with with supple pages. A comic book in this grade has the appearance of being carefully handled.

The key with every condition below Near Mint is that the comic appears to have been handled or read. As stated in the definition, a comic book in Very Fine condition has been handled with care. For example, the bulk of my collection is probably in Very Fine condition because I read my comics carefully and then store them appropriately. A comic in Very Fine condition can have a limited accumulation of minor bindery defects and only minimal surface wear on the cover and corners. Also, small creases of less than ¼ inch are allowed as long as the crease does not break the color of the cover. Most new comics on the stands are generally in Very Fine condition.

Fine – Fine condition is described by the Overstreet guide as:
An above average copy that shows minor wear but is still relatively flat and clean with no significant creasing or other serious defects. Eye appeal is somewhat reduced because of slight surface ware and the accumulation of small defects.

A comic in fine condition probably was read and then stored in a pile of other comics where it was not disturbed or damaged, but also was not protected from the elements or the weight of other comics. The ink and color is not as bright and reflective due to fading and slight browning or yellowing of the paper. There might be a slight spine roll, rounding of the spine, and slight spine splits. With spine roll generally comes small tears from the staples and blunted corners. Discolored or slightly rusty staples can be replaced on a comic in Fine condition without lowering the issues grade.
Note: Only vintage staples can be use to replace those on Very Fine to Near Mint comics. Mint comics must have their original staples.

Very Good – The average old comic book that is sold in back issue bins in every comic shop is in Very Good condition. Overstreet defines a Very good comic as having:
Some significant moderate wear but still has not accumulated enough total defects to reduce eye appeal point that it is not a desirable copy. The cover shows moderate to significant wear and can be loose but not detached.

Comics in Very Good condition are sometimes referred to as “Reader Copies” by collectors because of their many flaws and low price. Comics in this condition have not been stored correctly or handled with care and have cover tears, dimples, creases, minor water damage and even clear tape repairing small tears. Spine rolls, loose staples and corners that are blunted or even have small pieces missing are common in Very Good comics. The paper is brown but not brittle and their can even be a slight acidic smell present in these comics.

Good – Comics that are considered to be in Good condition are generally found in the 25 cent bin in most comic shops. That is not to say that all comics in Good condition are worthless. Very old key issues of comics like Captain America and Superman can still sell for upwards of $20.00 in good condition. Overstreet defines Good condition as:
[Showing] substantial wear. Cover may even be detached. Book length creases and dimples may be present. Rounded corners are present. Moderate soiling, staining, discoloration and foxing may be present.

The key to a comic in Good Condition is that it is not missing any pages and is still readable. Overstreet states that the comic can be missing up to a ½” triangle or a 1/4”square.

Fair – This is considered the lowest grade for a collectible comic because in lesser condition the book is incomplete or on the verge of falling apart. Overstreet defines Fair condition saying:
A copy in this grade shows heavy wear. Some collectors consider this the lowest collectible grade because comic books in lesser condition are usually incomplete and/or brittle. Soiled, faded, ragged and possibly unattractive. This is the last grade in which a comic remains generally readable.

Comics in Fair condition generally have very little or no collectible value. If you are an aspiring artist, comics in Fair condition are excellent for reference and character study. They are also great for younger kids.

Poor – This is the final grade and bottom of the scale. A comic in Poor condition is destroyed. The cover can be missing, pages loose or even unattached, holes, tears, water damage, rodent gnawed pages, all these imperfections, are the marks of a comic in Poor condition. These comics are the ones that sat in water during the flood or lined the canary’s cage for more than a month. Overstreet defines Poor condition as:
Most comics in this grade have been sufficiently degraded to the point where there is little or no collector value; they are easily identifiable by a complete absence of eye appeal.

During my tenure at the comic shop, I had to tell many a person that their books had been sufficiently degraded to the point where there was little or no collector value. That’s nicer than saying, “What you have here is garbage. “ Nobody wants to hear that their comics are worthless, but if not properly stored your comics will end up being easily identifiable by their complete absence of eye appeal.

However, just because your whupped-up comics are in Poor condition doesn’t mean they should get pitched. Comics in Poor condition can be recycled or used to start a compost pile. According to www.howtocompost.org worms love newsprint. Don’t trash those old comics; use them to grow a beautiful vegetable garden!

Now that you know a little more about the definitions used by collectors and professionals to grade comics you can buy and sell own your comics with a little more confidence. Keep in mind that grading comics takes a lot more than a good understanding of the Overstreet definitions. These conditions I discussed are merely guidelines used to determine a comics condition. Ultimately comic condition is a matter of perspective. Ask three different store owners the condition of a comic and you may get three different answers. Often, when people are trying to sell a comic, the condition can be greatly over exaggerated. This could be due to the fact that the seller is a criminal or they could just be really bad at grading comics. I learned to grade books by one of the sternest graders in the business and, after a decade, I’m still learning.

At the end of the day its best to let find someone whose grading abilities you trust and have them help you in determine the condition of your comics. And remember, if someone tells you their comics are in Mint condition, they probably don’t know what they’re talking about.