Caring for your items

Posted on September 5, 2023August 9, 2024 by Alastair Meiklejon

Without doubt, one of the most common questions that we at Doerr Dallas Valuations get asked is “What is the best way to take care of… (insert as appropriate)” and the simple answer is that everyone has their own way and own interpretation for different items – some people swear by old wives tales, whilst some find new solutions and potions on Amazon and insist that their carpet has never looked cleaner. So as a rough guide I have compiled the following advice for certain groups of items.

Furniture

When people ask about furniture, it is generally whilst talking about wood items, such as mahogany, oak, walnut, rosewood, and many other weird and wonderful materials that we are privileged to work with.

The first thing to say is – look at where the item is kept; Is it in sunlight? Next to a radiator? In a damp shower room?

If any of these answers are ‘yes’ then seriously consider relocating the items, as ultimately, it’s not going to end well. Warping, fading and serious cracks may appear after time and that will result in a costly visit to the restorers.

Whilst we all remember the smell of the spray cans of furniture polish commonly seen in the 80s and the 90s, these really are not a good way of polishing or cleaning antique furniture, the artificial chemicals will gradually damage the finish and leave you with an item needing to be professionally restored – the general rule of thumb, is less is more.

A lint free cloth with natural beeswax is always the best route, applied until the wood is nourished (this might take a little while, but have patience) will gradually bring back a nice genuine shine and bring out the grain of the wood, as opposed to a silicone type shine that a spray can will bring – it also smells a lot better in my opinion.

Any metal work, such as handles or escutcheons, should be dealt with very carefully – personally I would leave them well alone and enjoy the patina that develops over time, especially with brass work. However if you have to clean them, a very fine wire wool, used sparingly is really your best option – never, ever use Brasso, or similar products as you will end up with a rather ugly rash around wherever you have used it.

Ultimately, furniture is there to be used and a good tablecloth or coasters are one of the most simple ways of keeping the piece in tip top condition – you are more likely to damage it with a stray glass of red wine, rather than normal use over decades.

Rugs

Rugs and carpets are some of the most susceptible items in the household to damage, but how do we avoid the wear and tear?

Again, much like furniture, one should always think about where a carpet is going to be positioned, direct sunlight and damp areas are of course a big no due to the impact that both factors can have on the material. Additionally, turning a rug is a really good idea – for example if in a drawing room, there will always be that one corner that is worn more frequently than the others, and turning the rug will spread the wear more evenly – why not try them in different parts of the household?

When it comes to spillages, again the glass of red wine seems to be the biggest culprit of terrible stains. The experts are unanimous in their recommendations – DO NOT SCRUB – always blot the stain with a kitchen towel and then flush with water, and repeat… this may take some time.

If you are lucky enough to have a furry friend, then they present a slightly different problem and a slightly different method of attack; white vinegar diluted with water is generally considered to be the best option, as the chemicals in urine can attack the fibres and cause significant damage – the logic behind the vinegar is that it works against those chemicals.

The one area that I would strongly recommend not doing anything to, is silk rugs. Whilst there are options out there, the risk for things going horribly wrong are so great, and ultimately a good carpet cleaner or restorer will be able to advise you as to what action to take.

So whilst furniture and rugs are both somewhat daunting in terms of maintenance, it really is a case of keeping on top of little things regularly and they will continue to give you years, if not decades of reliable service.

The Care of Books

Posted on May 31, 2023September 9, 2024 by Rupert Neelands

Rupert Neelands gives his best advice for caring for books:

Space

Libraries great and small suffer from a shortage of space — there is never as much room on the shelf as one would like. This is a permanent problem for the collector, but the desire to squeeze on an extra volume has to be resisted. Give your books enough space and ensure they are kept in a room with a free flow of air, preventing mould and dampness. Shelving should not be erected on exterior walls, and it must be of sufficient strength.

Size

The size of books dictates their natural pecking order; the place for heavy folios and quartos is on the lower shelves, octavos of standard size and smaller are traditionally shelved at eye level or above. The top shelf of a grand library is usually the place for the smallest and least interesting volumes only accessible with a high ladder.

At the other end of the spectrum, large volumes with magnificent plates are happiest when safely placed in a bottom shelf or cupboard; they may alternatively be kept flat on a library table, easing pressure on the spine. For a free flow of air and absence of direct sunlight, there is no better environment than a draughty Scottish castle with few windows, thick stone walls and no heating.

Conservation history

The 19th-century bibliophile William Blades first published The Enemies of Books in 1880 (the second edition of 1888 is now available online through the Gutenberg Project). A short monograph, it went through many editions and has long been the classic work on the subject. In his opening chapters on “Fire” and “Water” (“liquid” and “vapour”), Blades gives an account of the terrible conflagrations and inundations which have resulted in the loss of so many books over the centuries.

Damp

Many would consider “damp” to be the greatest enemy of books, and Blades describes the “irreparable injury” which it can do. “The substance of the paper succumbs to the unhealthy influence and rots and rots until all fibre disappears, and the paper is reduced to a white decay which crumbles into powder”. He has a surprisingly modern remedy to suggest for the damp atmosphere that produces spotting and visible staining to blank margins or the text itself. On the basis that “our worst enemies are sometimes our real friends”, he suggests having hot water circulate through pipes under the floor. However, he believes this heating system cannot be allowed to supersede “the open grate”, going on to argue the case for coal and even (frightful thought) asbestos fires.

In the event of spillage

The antiquarian book with its thick rag paper and durable binding of leather or vellum is nevertheless a resilient object and minor blemishes are easy to tolerate providing a book is complete with no missing pages or hiatuses in the text. Should you spill an entire glass of water over an important volume, the situation may be retrievable. Stand the volume upright, and fan out the leaves allowing any liquid to drain off. A hair drier is an effective tool for supplying an air flow from a distance. With the right treatment the unhappy accident may leave no trace at all.

Heat and sunlight

The desecrators of books denounced in Blades’ subsequent chapters are: “Gas and Heat”, “Dust and Neglect”, “Ignorance and Bigotry”, “The Bookworm”,“Other Vermin”, “Bookbinders”, “Collectors”, and finally “Servants and Children”. While Gas has long ceased to be used for lighting, its ill effect may still be seen on grimy books; it was the sulphur in the gas fumes that caused bindings on the upper shelves to deteriorate. The problem of “desiccation” also persists today, whether ascribed to the open fires and gas lighting of the past or to the natural power of sunlight. Blades defined the process as “the leather losing all its natural oils by long exposure to much heat”.

The sun can do damage we may easily be unconscious of. Leather and cloth spines and invaluable dust-jackets will all fade as a result of regular exposure to sunlight, leather becomes brittle, condition is altered for the worse and value plummets.

Worm holes

The chapter on “The Bookworm” is one of my favourites. Blades observes the fascinating manner in which a worm hole, far from being of even size, can slowly grow as the pages of a folio are turned, and then just as gradually diminish and disappear. Although the cataloguer has to count these holes as defects, watching their growth and disappearance can provide a welcome diversion from the collation of a lengthy text. Modern books don’t suffer in the same way. Blades comments wryly on “the scarcity of edible books of the present [19th] century”, observing that “one result of the extensive adulteration of modern paper is that the worm will not touch it. His instinct forbids him to eat the china clay, the bleaches, the plaster of Paris, the sulphate of barytes, the scores of adulterants now used to mix with the fibre … the worm has a bad time of it”.

Bookbinders

There is no chapter on book dealers but there is one on “Bookbinders”, placed after “Other Vermin”, revealing the sorry practices of the book trade in the late 19th century. As Blades states in fury, binders not only cut away book margins and any annotations on them with utter ruthlessness; they also destroyed old bindings to make new ones, and habitually washed books leaf by leaf, perhaps adding hydrochloric acid, oxalic acid or caustic potash to remove every mark. Fortunately, today’s binders have higher allegiances and are very much on the side of the conservation rather than the desecration of books.

The attack is taken to collectors themselves, “two-legged depredators” who indulge the habit of cutting out illuminated initials and engravings from books, and making separate collections of them. The one obsessive collector to be mentioned by name is the celebrated Sir Thomas Phillipps of Middle Hill who lived in ‘a mansion crammed with books; he purchased whole libraries and never even saw what he had bought’. Phillips possessed one of the greatest bibliographical treasures in the form of the first book printed in English, “The Recuyell of the Histories of Troye”, translated and printed by William Caxton. But it was a volume “he could never find” among so many others piled on his shelves.

Dust

Blades’ final chapter, “Servants and Children”, instructs the former how to dust books with due care. Recommending the simple use of a duster, without any cleaning agent, might seem old-fashioned. Today we have a tendency to believe that leather bindings require some form of polish or wax to restore them to full bloom, and a large number of such products are available on the market. But Shelly Smith, as head of New York Public Library’s Conservation Team, takes the same view as Blades, writing: “Don’t use oil or leather dressing on your leather bindings … it can actually cause deterioration to the volume as the oil or leather dressing ages. Simply wiping leather bindings with a plain soft cloth is best” (NYPL Newsletter, August 2020).

It is a cardinal rule never to take a book from the shelf by pulling at the top of the spine. Blades comments on the tendency of home helps “to fill the shelves too tightly,” which only made extracting a volume safely that much more difficult. Once safe in one’s hands, a rare book can be read but should never be fully opened — a big risk to the binding. This does not mean that, like Sir Thomas Phillipps, one should ignore one’s collection. Books are to be admired. Whatever the hazards, an important part of their care is to handle them at least occasionally. This lets fresh air penetrate the pages while the oil occurring naturally in our fingers is enough to keep calf or morocco bindings nourished.

To find out about our Rare Books & Manuscripts valuation service, get in touch today!

Caring for Ceramics

Posted on May 23, 2023September 9, 2024 by Mark Longley

Mark Longley gives his best advice for caring for ceramics:

Tips on Handling and Examination

Ideally, ceramics should be handled as little as possible and with great care, never picking pieces up by handles or rims, and being aware of loose parts like lids. Wear thin nitrile gloves when handling unglazed wares or, especially if the glaze is flaking. If you are carrying items be sure to use both hands to cradle objects. Always handle pieces over a soft cloth or towel.
Ideally one should have a knowledge of those pieces that are restored or damaged. Examine pieces for losses to the rims, applied decoration, or projecting parts of a piece. Hairline cracks and firing faults are usually noticeable. If you are unsure, always contact a professional fine art surveyor.
Restoration may involve an element of over-painting and damage. This paint will be softer than the hard glaze and can be felt with a soft application of a coin or metal point. Some people might use their teeth on a clean area of repair as this method, while not professionally used or advisable due to increased sensitivity. Older repairs are often apparent because old paint yellows with age. Examine pieces under a strong light for repairs. Use a UV light or a UV torch in a dark room for a more thorough examination of potential restoration. Repairs and natural faults both shine with a strong white light.

Tips on Display and Storage

Never crowd shelves or display cabinets, and place smaller items at the front. Using a display cabinet will reduce the risk of dust and grime attaching itself to your collection and will be protective.
Resist the temptation to stack too many plates in a pile. The resulting weight can easily lead to accidents. Use plate stands or specially designed stands for display.
Take care when hanging plates, that you use the correct size devices otherwise you may put a considerable strain on the plate. Do not hang plates with hairline cracks.
Remove old style plate hangers that have springs to tension the attachment hooks. Replace those with wire hangers. Investigate adhesive hanging devices but be aware that this adhesive might affect certain surfaces.
Store ceramics by wrapping in acid-free tissue paper and bubble wrap and packing into a strong plastic crate.

Tips on Cleaning

Occasionally it may be desirable to wash objects, but usually a careful dust with a soft duster or hogs hair brush should be enough.
Washing may be best done by using swabs of cotton wool or cotton buds, rather than immersing the object in water. A soft toothbrush could be of assistance. Avoid extremely hot water. The addition of a little detergent may help. Never attempt to use bleach to remove stains.
Not all ceramics have a hard glaze. Great care needs to be taken with certain kinds of ceramics where these are porous or made of soft-paste, Parian, or biscuit ware, and never immerse anything which has gold decoration which may be unstable. Some decoration may be applied by a transfer technique, commonly found in antique dinner services, so be aware of rubbing surfaces whilst cleaning or handling.
Keep broken or damaged ceramics carefully until you can get the piece to a professional restorer.

To find out more about our ceramics valuation service, contact us here!

How to look after paintings

Posted on May 16, 2023September 9, 2024 by David Dallas

Pictures, like small children, prefer consistency of treatment. In the case of paintings and watercolours this means no violent fluctuations in temperature or humidity.

If you have a damp room a de-humidifier can bring the relative humidity down to around 40%-60%, above this level and there is a possibility of mould growing on surfaces and this can stain the paper on which watercolours, drawings and prints have been worked, irrevocably. Some moisture in the air is good, especially for inlaid furniture and panel pictures. I was in the Pinacoteca in Bologna 40 years ago, where there was about zero relative humidity and the great wooden altarpieces were groaning like ships’ timbers, as they dried out and moved. It’s not like that now!

Hanging paintings above radiators or chimney breasts is to be avoided as the paint layer dries out and becomes brittle and if the painting is on a panel it can warp. The same applies to furniture.

Direct sunlight is a no-no, especially for watercolours. I remember seeing a large pair of watercolours by Turner hanging in a lightwell. They had been there since 1800 when the owner’s forbear had bought them at Christie’s. I tracked the sale. Instead of being worth £200,000 (they were obviously very early ones) they were worth about £5,000 as curiosities. All the colour had been bleached out – no blues, no greens, just pale pink and brown smudges. What a tragedy!

Whether light travels in waves or pulses, it equals heat and this will damage anything subjected to it. Ultra violet inhibiting strips can be put on windows, but they are only about 60% effective and should not be exclusively relied upon. Old-fashioned velvet curtains, with brass rods stretched through the bottoms are an ideal way of protecting watercolours in daytime and can, be turned back at night.

Artificial lighting can be harmful too, although it lacks the sun’s power, so low energy bulbs should be used and try to avoid picture lights on brass arms attached to the frame of an oil painting. They are too close to the surface of the painting and can cause stress to an old carved and gilded frame.

The cleaning of all paintings must be left to well-trained professional conservators. It is a highly complex procedure requiring in-depth knowledge of chemistry. Never use a damp cloth to clean the gilding on a frame. If it is water-based gilding, as opposed to oil, it will dissolve. A feather duster is preferable to a cloth duster as it is less likely to snag the carving and pull it off. You can dust the surface of an oil painting, very gently, with a cloth duster.

Lastly, never dust the glass on a pastel, it can cause static electricity to build up and the pastel (powdery chalk), which was never treated with a fixative in the 17th, 18th and 19th Centuries, will jump off the paper and adhere to the inside of the glass!

Some things you just have to live with such as houseflies whose poo can stain an oil painting and can only be removed with a scalpel (don’t try this yourself!).

Thunderflies, in high summer, can find their way under the tightest-fitting glass and litter the surface of a watercolour or drawing. Wait until autumn and take the backing off the work on paper, dust them out and reseal. Silverfish are a menace. If they get into a Victorian watercolour they can munch their way through the pigments, which have been impregnated with gum Arabic (the substance that Osama Bin Laden’s family fortune was based on) leaving patches of bald paper. Try to keep on top of silverfish by regular hoovering.

It is a very good idea to have your paintings regularly valued, which will involve keeping a good photographic record. This could prove very useful to a conservator and loss adjuster should you have the misfortune to have water or fire damage.

Caring for Paintings

Posted on November 10, 2020August 21, 2024 by David Dallas

Pictures, like small children, prefer consistency of treatment. In the case of caring for paintings and watercolours this means no violent fluctuations in temperature or humidity.

Water damage

If you have a damp room a de-humidifier can bring the relative humidity down around 40%-60%, above this level and there is a possibility of mould growing on surfaces and this can stain the paper on which watercolours, drawings and prints have been worked, irrevocably. Some moisture in the air is good, especially for inlaid furniture and panel pictures. I was in the Pinacoteca in Bologna 40 years ago, where there was about zero relative humidity and the great wooden altarpieces were groaning like ships’ timbers, as they dried out and moved. It is not like that now!

Example of water damage

Where to hang your painting

Hanging paintings above radiators or chimney breasts is to be avoided as the paint layer dries out and becomes brittle and if the painting is on a panel it can warp. The same applies to furniture.

A light-damaged painting

Direct sunlight is a no-no, especially for watercolours. I remember seeing a large pair of watercolours by Turner hanging in a lightwell. They had been there since 1800 when the owner’s forbear had bought them at Christie’s. I tracked the sale and instead of being worth £200,000 (they were obviously very early ones) they were worth about £5,000 as curiosities. All the colour had been bleached out – no blues, no greens, just pale pink and brown smudges. What a tragedy!

Whether light travels in waves or pulses, it equals heat, and this will damage anything subjected to it. Ultraviolet inhibiting strips can be put on windows, but they are only about 60% effective and should not be exclusively relied upon. Old-fashioned velvet curtains, with brass rods stretched through the bottoms are an ideal way of protecting watercolours in daytime and can be turned back at night.

Artificial lighting can be harmful too, although it lacks the sun’s power, so low energy bulbs should be used and try to avoid picture lights on brass arms attached to the frame of an oil painting. They are too close to the surface of the painting and can cause stress to an old carved and gilded frame.

Cleaning of paintings

Lastly, never dust the glass on a pastel, it can cause static electricity to build up and the pastel (powdery chalk), which was never treated with a fixature in the 17th, 18th and 19th Centuries, will jump off the paper and adhere to the inside of the glass!

Damage caused by fly faeces

Some things you just must live with, such as houseflies whose poo can stain an oil painting and can only be removed with a scalpel (don’t try this yourself!). Thunderflies, in high summer, can find their way under the tightest-fitting glass and litter the surface of a watercolour or drawing. Wait until autumn and take the backing off the work on paper, dust them out and reseal.

An example of damage caused by silverfish

Silverfish are a menace. If they get into a Victorian watercolour, they can munch their way through the pigments, which have been impregnated with gum Arabic, (the substance that Osama Bin Laden’s family fortune was based on), leaving patches of bald paper. Try to keep on top of silverfish by regular hoovering.

Another example of damage caused by silverfish

If you do have the misfortune to have water or fire damage or a painting falls off the wall, it makes sense to have a good photographic record of it, as this could help a conservator restore it and a loss adjuster assess a claim.

Caring for Ceramics

Posted on November 2, 2020August 22, 2024 by Mark Longley

Tips on Handling and Examination

Ideally, ceramics should be handled as little as possible and with great care, never picking pieces up by handles or rims, being aware of loose parts like lids. Wear thin nitrile gloves when handling unglazed wares or if the glaze is flaking. See tips on cleaning below. If you are carrying items use both hands to cradle objects. Handle pieces over a soft cloth or towel.
Ideally one should have a knowledge of those pieces that are restored or damaged. Examine pieces for losses to the rims, applied decoration or projecting parts of a piece. Hairline cracks and firing faults are usually noticeable. If you are unsure, call a professional Fine Art surveyor.
Restoration may involve an element of over-painting a damage. This paint will be softer than the hard glaze and can be felt with a soft application of a coin or metal point. Some people might use their teeth on a clean area of repair as this method, while not professionally used and advisable, enhances sensitivity. Older repairs are often apparent because old paint yellows with age. Examine pieces under a strong light for repairs. Use a UV light or a UV torch in a dark room for a more thorough examination of potential restoration. Repairs and natural faults both shine with a white light.

A poorly repaired English tin glazed earthenware bowl,
late-17th to mid-18th century

Tips on Display and Storage

Never crowd shelves or display cabinets and place smaller items at the front. Using a display cabinet will reduce the risk of dust and grime attaching itself to your collection and will be protective.
Resist the temptation to stack too many plates in a pile. The resulting weight can easily lead to accidents. Use plate stands or specially designed stands for display.
A collection of vintage plate stands
Take care that when hanging plates, that you use the correct size devices otherwise you may put a considerable strain on the plate. Do not hang plates with hairline cracks.
Remove old style plate hangers that have springs to tension the attachment hooks. Replace those with wire hangers. Investigate adhesive hanging devices but be aware that this adhesive might affect certain surfaces.
Store ceramics by wrapping in acid-free tissue paper and bubble wrap, and packing into a strong plastic crate.

Tips on Cleaning

Occasionally it may be desirable to wash objects, but usually a careful dust with a soft duster or hog’s hairbrush should be enough.
Washing may be best done by using swabs of cotton wool or cotton buds, rather than immersing the object in water. A soft toothbrush could be of assistance. Avoid extremely hot water. The addition of a little detergent may help. Never attempt to use bleach to remove stains.
Not all ceramics have a hard glaze. Great care needs to be taken with certain kinds of ceramics where these are porous or made of soft-paste, or Parian or biscuit ware, and never immerse anything which has gold decoration which may be unstable. Some decoration may be applied by a transfer technique, commonly found in antique dinner services, so be aware of rubbing surfaces with cleaning or handling.
Keep broken or damaged ceramics carefully until you can get the piece to a professional restorer.

Caring For Your Jewellery

Posted on October 9, 2020August 22, 2024 by Mary Waterfall

The way people approach jewellery care can be very diverse. Some people constantly wear their jewellery and don’t even think to remove their diamond rings when gardening or kneading dough to make bread. Other people take their rings off all the time – to wash their hands, do the washing up etc, often with husbands shouting in the background ‘Where have you left them this time!!’
In my opinion, jewellery should be worn and enjoyed. It should be a source of pleasure and not locked away in a box or safe all the time for fear it may get dirty or damaged. I often get asked about the best way to clean jewellery, so I have included some advice and other tips in this article in the hope that somebody finds it useful.

Image of commercial jewellery cleaning solution

Jewellery cleaning bath

I usually advise people to soak their jewellery in warm soapy water and then give it a scrub over with a soft toothbrush. You can buy jewellery cleaner at most jewellers which is just as effective. Some people swear by soaking it in gin! I have to say I have not tried that one and can think of better things to do with a glass of gin!

It’s amazing how much dirt is attracted to the surface of diamonds and gems. Earrings that are constantly worn can collect a build-up of ‘ear cheese’ to the reverse, which will also have an impact on the way light interacts with the gemstones and consequently with their brilliance and sparkle. In these incidences a cocktail stick is useful in addition to the soapy water. I often have to clean jewellery in order to be able to grade and assess the quality of the gemstones. My clients are usually delighted at the renewed sparkle it brings.

Ear Cheese!

Ultrasonic cleaners use sound waves to break down the dirt that accumulates on the surface of jewellery. However, it is not safe to put all gem stones in them. Softer, more delicate stones can be damaged by the heat and vibrations of an ultrasonic. These include emerald, opal, tanzanite, lapis, amber and other organic stones. Gemstones that have been treated to enhance their colour and clarity can also be damaged by an ultrasonic.
Pearls are very soft and delicate and may partially dissolve if cleaned with an ultrasonic. It is best to wipe pearls with a soft cloth and never use alcohol or chemicals on them. It is worth remembering to spray perfume before you put on your pearl necklace, rather than spraying the perfume on the pearls.

Do ‘the tap test’ at least once a month

Another important thing to check on a regular basis is that the gemstones are secure in their settings. I have recently heard quite a few horror stories of how significant sized diamonds have fallen out and been lost. I recommend people do ‘the tap test’ at least once a month. All you do is hold the piece of jewellery securely, close to your ear and lightly tap on it. If you can hear any rattling the stones are probably loose in their setting and in need of attention. It’s also a good practice to check the fittings on necklaces and bracelets are secure as it may have implications on your insurance cover if they are not. At Doerr Dallas Valuations these checks form part of our valuation procedure.