porcelain repair

ANTIQUE CERAMIC DISCUSSION ARCHIVE
II

stoneware crocks

From: tcorey@aol.com

Date: 19 Feb 1999

Comments

We have a stoneware crock that was in a fire. The salt glaze is crazed and smoke has gotten in. Is there any way to clean this? What would be best to clean the surface of the crock? Any way to get stains out? Thanks for any help.

Re: stoneware crocks

From: Lawrence

Date: 19 Feb 1999

Comments

This is a difficult question. Much depends upon the circumstance of the "fire". We have had a number of experiences over the years with fire related materials. Most recently we were involved in the restoration and conservation of approx. 60 fire related damaged ceramics with the arson of the Thomas Wolfe House here in Asheville NC. The damages ranged from smoke damages to actual refiring of the object where the glaze was blistered and irreversibly changed. Much depends upon the temperatures reached in the fire and the nature of the materials burning in proximity. We are aware of published treatments where simple cleaning with soft abrasives sufficed all the way up to radical treatments of refiring to remove engrained deposites (not suggested). Poultices may work to pull out soot or perhaps prolonged soaks. I would be adverse to suggest a firm course of treatment with crazing and engrained soot without viewing the object. You may wish to consult a qualified ceramic conservator.

Re: stoneware crocks

From: alphazed@usa.net

Date: 24 Mar 1999

Comments

Muriatic acid is available from any concrete construction supplies company, it's used for cleaning hardened cement off aggregate, and would have the same effect on the discoloration on your crock. Whether it would degloss the glaze or not, you could try a small area.

I'd expect it would take a stronger acid to degloss a high-fired glaze, but hey? Muriatic is cheap and a not particularly dangerous way to try and save the piece.

Soak and scrub, soak and scrub, then mix up baking soda and water and soak overnight in that to de-acidify the piece and stop the etching process.... MAR

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saki set

From: alszafran@aol.com

Date: 12 Nov 1999

Comments

I have what appears to be a saki set with 5 small cups and a "pitcher". In the bottoms of the cups, the porcelain is of varying thickness, and when held up to the light, the varying thickness allow variances in light transmission. Holding it up to the light, you see a very detailed appearance of the face of an oriental woman. The cups, pitcher, and tray, have painted designs, with what appears to be gold leaf on parts of it. Can anyone tell me about this art form?

saki set

From: Lawrence

Date: 12 Nov 1999

This type of decoration is called "an hua" which is Chinese for secret decoration. It is achieved by painting a design with thicker slip onto eggshell porcelain or by sgraffito--incising the design into the body. The result is a design of contrast when held up to the light.

saki set

From: alszafran@aol.com

Date: 19 Nov 1999

Comments

Lawrence: Thanks for the first info. I've ever been able to find out about this. Is this art form new? old? Can you recommend web sites or books I can turn to to learn more?

Thanks

saki set

From: Lawrence

Date: 20 Nov 1999

Comments

An hua decoration appears to have first been used in the reign of Yung-lo (1403-24) and once again gained popularity in the reign of Yung Cheng (1723-35. The technique is always on very thinly potted or cast wares to achieve translucense (eggshell porcelain). I see contemporary ceramics out of China utilizing the same subtle technique with dragons, scrolls, clouds, and the Eight Buddhist Emblems, etc.

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Japanese China Tea Service

From: cgavin@lucent.com

Date: 21 Feb 1999

Comments

About 30 years ago, I received from my mother, a muted teal blue china Tea set (tea pot, creamer, sugar, cups, saucers, and desert size plates)stamped on the back. Stamp is a 5-petal cherry blosom with an "H" in the center of the flower and the word "JAPAN". They appear to be hand-panted with gold leaf swirls and around the edge and have two pictures on the face--Mt. Kilamanjaro and a tree on risng out of a piece of land jutting into the sea. Have you any ideas about this? Nay help identifying this set would be greatly appreciated.

Re: Japanese China Tea Service

From: James

Date: 21 Feb 1999

Comments

I believe it is "occupied Japan".

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Hxtal coloring

From: Restoration Services/Dale Peterson

Date: 03 Mar 1999

Comments

You recently mentiomed that Hxtal could be colored by using metalic powders but my usual supplier in Tulsa doesn't carry any. Can you give me a suppliers name or do you sell it--a couple of sources would be great-Thanks-any other suggestions on coloring Hxtal besides this if this is not corrct.--Dale

Re: Hxtal coloring

From: Lawrence Bradshaw

Date: 04 Mar 1999

Comments

I do not recall suggesting the tinting of Hxtal with metal powders. You can try it. There are some concerns about the discoloration of Hxtal when exposed to certain metals such as mixing the resin with a metal spatula but this really applies more to the resin as an adhesive and not a tinted fill. Bronze powders are widely available from large artist material suppliers. One product is manufactured by J.E. Moser and distributed by Wood Finishing Supply Co., Inc. Macedon, New York 14502. I do not have a phone number. We tint Hxtal with dry artist pigments which are also widely available from art suppliers. The only ones we have trouble with are the lemon yellow variety which tend to discolor from the original tint in a few short days. Hope that helps.

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Rosenthal vase/lamp cleaning

From: James

Date: 03 Nov 1999

Comments

First determine if there is any previous restoration or cold paint or true gold leaf on any of the surfaces which may be affected by your cleaning materials. I will assume that all decorative surfaces are fired gilt, glaze and enamel and stable; test, test, TEST. Try cleaning with swabs of stoddard solvent (also called white spirit and used as a dry cleaning fluid) or with swabs of xylene. Use with latex or rubber gloves and adequate ventilation. This may leave some scumming on the surfaces which may be rinsed off with a simple dish washing liquid. You can find a fair range of restoration and conservation materials at: Conservation Resources in Virginia 1-800-634-6932; Conservator's Emporium in Nevada 1-702-852-0404; adhesives from Adhering Technologies in California 1-530-676-4810.

Rosenthal vase/lamp cleaning

From: trotter@optonline.net

Date: 03 Nov 1999

Comments

I've got a good question for ya, I'm going crazy trying to clean a Rosenthal lamp. It seems to me that someone polished the lamp with wax over a period of time and the wax baked in. The lamp is black porcelain and has a white wash type of film on it, I believe that is the wax. Some of the white wash came off with saliva, so I decided to try mineral spirits, with no results, next I tried acetone, it didn't work. Finally I tried vinegar which removed up to 75% of the white wash on one panel and only 30% on the other side of the lamp. What should I try next? I have to be careful because the lamp is hand painted and has gilding. Thanks, P.S. Do you know of a good place to buy Pottery & porcelain restoration supplies. Thomas J Kirby

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Rivet Repair in Porcelain

From: bpress@aol.com

Date: 12 Mar 1999

Comments

I purchased a beautiful, interesting plate at a tag sale for $3.00 because it was "broken." It has some rivets in it where it was repaired. I don't know much about porcelain, if that is what this is, but the plate looks very old, as does the repair itself. Can anyone tell me anything about the age of the plate and possibly the age of the repair. The plate can be seen at http://www.bestweb.net/~bpress/au/plate.gif. Part of the plate is cut off because I placed it directly on the scanner but you can see the part that was repaired, and the repair on the back of the plate in the inset. Any help will be appreciated.

Re: Rivet Repair in Porcelain

From: James

Date: 12 Mar 1999

Comments

You have done well for $3.00. This is a Chinese "Nanking ware" reticulated plate or the reticulated base to a chestnut or fruit basket. The decoration is under-glazed blue and white. It dates from arount 1790-1820. Nanking refers to the city from which these wares were shipped in China to Europe and America and not where they were manufactured. While not of superior quality, Nanking wares are generally more finely potted and decorated than their Canton ware cousins. The repairs are a form of riveting and in this case appears to be lead incased wire binding the sherds together. This form of restoration was practiced for several hundred years ending (in the early 1960's)with the advent of adhesives suitable for the bonding of ceramics and glass. As long as the repairs are stable, I would not advise having it "re-repaired". I find these old mechanical repairs have their own old-world charm.

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bleach out age related stains

From: Meredith Landry

Date: 22 Mar 1999

Comments

How do I safely bleach out age related stains from long stored flow blue and Staffordshire type ceramics?

it 3-7 days between adding layers?(assuming you are using hxtal and fumed silica. Thanx

Re: bleach out age related stains

From: Cat

Date: 18 Oct 1999

Comments

Actually I use hydrogen peroxide a great deal to clean out stains. In the first process, I merely wrap the piece in white paper towels and saturate the paper towels, always wearing disposable latex gloves (buy them in any pharmacy). I use 40 vol. clear developer from a beauty supply store. Then I wrap the piece in saran wrap, stick it in a giant ziploc bag, seal it, and leave it in darkness for several days, checking on it periodically. This has been very successful in lightening most stains.

If it is not successful, then I actually soak the piece in the peroxide. While you are right that it does not remove grease-based stains on gravies or butters, it does remove most stains from coffee pots, teapots, and cups. I also had great success with some staining on a butter dish that apparently did not come from grease. The stains that come out best are the ones that seem to be in the craze lines. After I soak it, I sometimes bake it if I feel it is necessary but only on pieces that have not been repaired. I bake it in a 200 degree oven for three hours (keep windows open) allowing it to cool down completely in the oven. Then I wash it. I may re-peroxide it if it has not come clean.

Regardless of which method I use, I always soak it in cold water for about a week, changing the water frequently. The water takes the place of the peroxide, which forces the peroxide back out thus eliminating any possible damage later.

Re: bleach out age related stains

From: James.

Date: 25 Mar 1999

Comments

I would be careful about undertaking the cleaning or "bleaching" of soft bodied ceramics. Each case is unique as to the nature of the stains and each will dictate a different course of treatment. Fatty based stains from a sauce boat or those you may see in a milk jug or creamer will rarely lighten. Other types of stains will merely travel as water is introduced into the fabric and leave more noticable "tide marks" once dry. Hydrogen peroxide may lighten some forms of staining through the glaze crackle but will leave residues within the ceramic and cause burns in contact with your skin. Never use domestic bleaches like Clorox as the chemical residues will ultimately separated the glaze from the body. Gee, I guess what I am saying is to either appreciate its age or consult a conservator. Stained pottery has no hard fast rules for cleaning and can be made worse for the effort. Hope that helps a little.

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chandeliers

From: Marie Waterman

Date: 22 Mar 1999

Comments

I have a matching set of 5 chandeliers, one 4'by4',others 2'by2'.They are either porcelain or ceramic,cream colored with 3-D roses and cherubs in pastels.They also have gold(leaf?)designs.One person thought they were Czech circa 20's,30's/another said they looked like Capodimonte.I don't see any recent Capodimonte work except small statues.I am trying to find the country or firm of manufacture so I can get an estimated value before I try to sell them on an Internet auction site.Has anyone seen or heard of this type of chandelier ? Thank you.

Re: chandeliers

From: James

Date: 25 Mar 1999

Comments

We have come across a few of the "Capodimonte" and similarly marked chandeliers over the years...always broken of course. You may wish to scour over the objects and see if you can find a mark...perhaps a crown over an N. These are not generally fine pieces but very collectible. The fact that you have a quantity and very large pieces sure gives some added value. If they are of the style I imagine, I would also think of the 1920's. Look at the eBay site and search "Capodimonte" over a few weeks and you may well see something in the decorative style of your pieces to give you a better notion of identity and value.

Re: chandeliers

From: jcahill@roadrunner.nf.net

Date: 14 Sep 1999

Comments

I have a chandelier blue and white with lots of flowers it has a crowned N mark canyou help me.

Re: chandeliers

From: Jennifer Salazar kelsal97@aol.com

Date: 27 Sep 1999

Comments

I have a capodimonte chandelier that is three teared and lined with 24K gold. It has 24 lights and also has roses dangling from each light. It is beautiful. I want to sell it but I dont know its value. Jennifer

Re: chandeliers

From: James

Date: 01 Oct 1999

Comments

As in my previous post, these chandeliers can often be marked with an N under a crown and may be imitations of Capodimonte or Naples.

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Gold waxes for firing

From: alphazed@usa.net

Date: 24 Mar 1999

Comments

Have done some gilding using beeswax first dissolved in turpentine. Once the turpentine evaporates, the wax is very pliable and paintable, and tacks easily for the gilding. Like to try gilding before firing some thrown pottery, and surmise that the clay must be bisqued first, and then either waxed and gilded, or else wax mixed with leftover flakes and rubbed for a burnished effect.

But what happens when the piece is fired? Would you glaze over it first before firing to prevent oxidation?

Would the wax decompose so much the gilding floats off into the glaze? Could this be done as a technique (sim. raku?) MAR

Re: Gold waxes for firing

From: James

Date: 25 Mar 1999

Comments

You may wish to investigate the range of commercial gold, silver and platinum lusters which are formulated for firing at (I thinkl) around cone 015-020. These are in a liquid form and may be banded or painted on. This is of course a very low temperature firing intended as a final decorative effect after the higher glaze firing. They would volitize at higher temperatures. I don't think that your waxes as a "size" hold much promise. But heck, if you have a test kiln and can control low temperature firings, whats the harm in trying? You may wish to try something that burns out without melting and carrying your precious gold with it. The gold you see on raku is urushi lacquer with powdered gold. This is a form of restoration and not an original decorative effect. It does look great tho!

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restoration society

From: ptryprncs@aol.com

Date: 28 Mar 1999

Comments

Please send me the information on the association, I would like to join, and I have a friend in Seattle that is also interested, if you can send two info packets, Thanks, Randi Schwart 1409 Lake Avc , Il 6009

Re: restoration society

From: James

Date: 29 Mar 1999

Comments

A association or guild is in the works. I will notify you when that happens.

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Cleaning of glass bottle.

From: apaal@aol.com

Date: 04 Apr 1999

Comments

How do you restore "sick" glass bottle? The inside of my silver overlay glass bottle has a cloudy deposit.How do you get it clean?

Re: Cleaning of glass bottle.

From: James

Date: 07 Apr 1999

Comments

Your bottle either has a deposit on the inside or it is etched. If it is a deposit, you may wish to try sodium hexametaphosphate (water softener, we use Calgon). Mix a solution of one teaspoon to a pint of water and pour into the bottle, leave 12 hours, drain and rinse well. If the cloud remains try colorless vinegar, leave 12 hours, rinse and dry. The idea is to disolve the "scum" but not leave it too long where the glass may be impacted. It would not be a bad idea to give a final rinse with distilled water if your tap water has a high mineral content. If the cloud remains it is probably etched and cannot be reversed. If your glass is rare and/or of a high value you may wish to consult a conservator rather than risk treating it yourself.

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Paint for porcelain restoration

From: gmwhitford

Date: 29 Mar 1999

Comments

I am constantly frustrated with the use of paints and the airbrush when restoring for example an antique english plate that has a white background and has been broken, glued, chips filled with milliput and sanded. I have only used acrylic paints due to the lack of solvents necessary for cleanup but I think from looking at other repairs that used oil based paints the reuslt is not as good with acrylic. Can you recommend a particular line of acrylics that would preform the best or any recent literature that deals with this paint situation? Do you know anyone in the US that offers instruction with the airbrush in porcelain repairs?

Re: Paint for porcelain restoration

From: James

Date: 03 Apr 1999

Comments

Golden paints manufactures a line of acrylic paints supposedly for ceramic restoration. We have never been terribly impressed with the results of acrylics mimicing glaze. We have used Rustin's clear plastic coating for 15 years for inpainting. It is a melamine urea formaldehyde with a catalyst. I can understand your concerns over atomizing solvent based paints. I know restorers who are either mad as hatters or have health problems from years of unventilated airbrushing or not wearing a suitable respirator. And now for an editorial. I would call into question the need to airbrush altogether (the exception being a whole new component part like an arm or airbrushing and wiping back to the fill). The reason this method is so popular is that restorers and their clients are not aware of the alternatives. This problem has been furthered by the multitude of 1-2 week courses which equate restoration with an airbrush. As I see it, the whole problem with airbrushing is the unavoidable covering of original surfaces...often the entirity of the object("psst, hey buddy, wanna buy a black-light proof figurine?"). Yes, the final result can be a "new" look from a distance but handling tells all. Warm plastic and a cheesy feel AND bright yellow in a few years. Most of our own business is removing overspray (sometimes only weeks old). What we often find are drilled (Dremeled?) and heavily abraded glaze, enamel and gilt decorations...."who cares what I do to the object, I'll cover up the damages and my tracks with my airbrush". It is no fun telling a dealer or a collector that their very expensive and rare find was butcher by the previous restorer...irreversibly. Top end dealers and collectors increasingly are rejecting these techniques in favor of better cleaning and damage specific, tinted resin fills. They last longer, are durable, discreet, safer to implement and honest. So, there are options to your airbrush just as there were to riveting a generation ago. It is difficult to change and to master new techniques and materials but it is also the mark of professionalism to do so.

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gilt on porcelain brooch

From: blybor@aol.com

Date: 09 Apr 1999

Comments

I have an antique porcelain brooch which appears to have been hand painted. The decorative gilt has worn away ..need to know who might be available in my area to assist in the restoration...

Re: gilt on porcelain brooch

From: James

Date: 12 Apr 1999

Comments

I am afraid that fired gilt effects do rub off with prolonged handling and wear. I would not try and have it restored as this would require the application of a paint medium with bronze powders or a similar "gilt" medium. These materials will tarnish and wear off quickly. In the unlikely event that your broach has gold leaf then perhaps it could be restored with original materials.

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paints for restoration

From: sari wilen

Date: 15 Apr 1999

Comments

Iam new to restoration work after trying to learn from books I took a 1week "everything you need"class,needless to say i still have lots to learn. Am currently using Lacquer based paints (automotive grade) either w/airbrush or thinned by hand.Im usually pleased with results but would like more options particularly concerned w/health issues.Where can I go to Learn more on my own?

Re: paints for restoration

From: James

Date: 15 Apr 1999

Comments

Books and one week courses are fine as an introduction to the field of ceramic restoration and conservation but as you know the promises are great and the results frustrating. Most texts are out of date for materials and techniques and many are down right disreputable. Short courses may be prone to the same. Airbrushing seems to be the "popular" taught method for restoration. There are other safer and more honest techniques for doing discreet repairs on damaged ceramics without covering the object in paint. You are right to be concerned over atomizing solvents and dangerous lacquers especially if they have been repackaged (as is often the case) by your teacher without the health and safety warnings. Proper ventilation and respirators with the correct filters are essential. Alternatively you should investigate advanced cleaning techniques and using resin fills for areas of loss. By doing so you can pretty much retire your airbrush. It is difficult to learn by book or short courses. The tendancy is to reinforce bad habits when you cannot defer to qualified teacher over a longer period of time. Personally, I think to do justice to learning ceramic conservation and restoration you need a year (minimum) of formal instruction or apprenticeship. For a more involved view point on the field of ceramic restoration you may wish to read "Ceramic Restoration, A Question of Values" at: http://www.antiquerestorers.com/Articles/CERAMIC_RESTORATION.htm I hope that I have not discouraged your quest but feel that there is an awful lot to learn without risk to self and object.

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Learn Pottery/Porcelain Repair

From: lg@webspan.net

Date: 02 May 1999

Comments

I am looking for a course in pottery/porcealin repair. Thanks.

Re: Learn Pottery/Porcelain Repair

From: James

Date: 03 May 1999

Comments

There is a list of schools and courses at. http://antiquerestorers.com/Courses/Courses.htm

Re: Learn Pottery/Porcelain Repair

From: drjack@mich.com

Date: 24 Jun 1999

Comments

I am looking for a course in the repair of pottery and porcelain in the Michigan area, as I live in Northern Michigan.

Re: Learn Pottery/Porcelain Repair

From: James

Date: 04 Jul 1999

Comments

My advice is from personal experience. BUYER BEWARE!!!

Only sign up with a teacher if they can give you at least 20 names and phone numbers of students who have taken their course and are successfully accomplished porcelain restorers.

That is the best and only acid test you need.

Re: Learn Pottery/Porcelain Repair

From: Jane

Date: 09 Jul 1999

Comments

I learned a very expensive lesson that I will share with you. I took a course from a woman who promised everything she could to get me to sign up for her course. She even promised to come to me to teach me the two week course. The result is I have few skills and $ 5000 poorer.

Re: Learn Pottery/Porcelain Repair

From: Lawrence

Date: 09 Jul 1999

Comments

I find your comments regarding short-term courses very interesting but not surprising. With the on going growth of the antiques and collectibles trades (and the value of damaged objects) there has been a proportional rise in the number of aspiring restorers. On the surface, ceramic restoration seems relatively straightforward. Many short-term course teachers infer that their students will be able to print up a business card and set up shop after a week or two. I would suggest that a year of intensive study and hands on training or apprenticeship is a minimum for professional qualification. My own experience at West Dean College http://www.westdean.org.uk/ left me more frustrated at the six-month mark than at the end of two weeks. While a teacher over promotes the student may be equally guilty of great expectations and lack of research. The risk to self (chemicals and solvents) and object (unique, priceless?!)are greater than one might imagine. It is much more lucrative to teach a one-week class for $1000 than to restore ceramics ethically or otherwise. One restorer familiar with a popular course told me that fewer than 10% of the students were still involved with restoration one year later. In our own practice I would estimate that 50% of the previous restorations (generally airbrushed) that we uncover have suffered more damages at the hands of the "restorer" than the original damages they profess to correct. This includes heavily abraded glazes adjacent to the break, chip or void, lost gilding and enamel decoration, drilled breaks and chips, inappropriate or irreversible adhesives, irreversible consolidated dirt and stains and the introduction of soluble cleaning agents into soft bodied ceramics. Self-taught teachers often teach these methods. Others acquire them from flawed books like the Klein Method or How to Mend Your Treasures. One cannot argue with people's love of antiques, desires to learn or even teach but the bottom line should preservation. Many of the national and international art restoration and conservation associations have been fighting for years to establish certification of conservators, restorers and teachers. Meanwhile beware of whom you entrust with your valuable collections and the money you may spend to learn a complex field.

Re: Learn Pottery/Porcelain Repair

From: melissa_macdonald@virtualeditor.com

Date: 02 Nov 1999

Comments

I worked for two summers during college for my grandfather (about 10 years ago), who restored china for 20+ years. He and his work were much sought-after and respected, and I learned a tremendous amount working for him. I've always wanted to continue his work, but, as he died last year, I can't go to him with my millions of questions. In particular, I'm concerned about making sure I'm restoring pieces in a way that is going to preserve the piece while for the long-term while also achieving the desired aesthetic results. (I believe my grandfather was self-taught and while I know he got wonderful aesthetic results, I have no idea if his methods were the correct ones as far as preservationists would be concerned.) I am looking for resources for several types of information: 1) what types of restoration training/insurance/certifications are recommended for the very-small-business owner? 2) any such training available in the New England area (esp. close to Boston)? 3) materials that can be used with a minimum impact on the environment (and me!) but without compromising quality of repair; 4) where to get these materials (I know some of the materials my grandfather used are either not made by the suppliers he used any longer or just plain not available at all any more); 5) any sort of standard formula for estimating costs.

I know this is a lot of information, and much of it may fall under what I'd learn in a good-quality training course. I'd appreciate any information I can get! Thanks!

porcrlain restoration class

From: sue

Date: 10 May 1999

Comments

I would like to learn porcelain repair and restoration, but I don't have very much time, does anybody know where I can take a week course.

Re: porcelain restoration class

From: Lawrence

Date: 12 May 1999

Comments

You may wish to view some of the previous postings in regards to short courses. Do be aware that not having much time and a one week course will not get you very far. A one week class can serve as nothing more than a general introduction to one or two aspects. Some believe that as many as 90% of short course students are no longer "practicing" restoration within a year of their instruction. In addition, most restoration inflicted damages on ceramics are done by self-taught or short course students. Beware of teachers who repackage dangerous products or practice the "Klein Method" or other irreversible/destructive techniques. Longer term courses and apprenticeships are generally required for professional qualification. You will find listings at: http://antiquerestorers.com/Courses/Courses.htm

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Chips on Desert Rose

From: Gary

Date: 29 Apr 1999

Comments

Is there an easy way to repair chips on dishes, particularly Desert Rose?

Re: Chips on Desert Rose

From: Lawrence

Date: 04 May 1999

Comments

If you are a ceramic restorer then, maybe, yes. If you are not familiar with the materials and techniques I would not bother attempting repairs especially if they have any monetary or sentimental value. You may risk further damages in the process. Sorry to be so off putting but often our work involves attempting to reverse either "panic" re-bonding or "short course" restorations which ultimately have degraded the objects and made re-restoration a more expensive proposition.

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Clear Glass Restoration

From: Lyle

Date: 05 May 1999

Comments

I have an antique fortune teller's clear glass ball that sits on a clear glass pedestal. The pedestal is approximately 5 inches tall x 1 inch in diameter. I accidently dropped the pedestal, causing it to sustain a small fracture to its base. No glass chipped or broke out of the fracture. The fracture is sort of a half-moon shape. Does anyone know of a restorer who can repair the fracture so that it cannot be seen or visible?

Re: Clear Glass Restoration

From: James

Date: 07 May 1999

Comments

The problem and the beauty with of glass is that it shows off everything including (in time) restoration. It is possible to consolidate a fracture with a conservation grade epoxy resin. This would stabilize the crack and often will render it invisible if one is able to fully introduce the resin. This can be a problem with short, tight, thick cracks. All restoration and conservation materials have a lifespan and epoxy resins (even the best) will begin to yellow slightly in time which may ultimately draw more attention to your damages. If it is stable (i.e. the crack is not travelling) you may wish to leave as is. Temperature swings may cause the crack to travel further.

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ceramic tile fireplace hidden under coats of paint

From: S Arnold

Date: 06 May 1999

Comments

My 75 year old spanish bungalow has a fireplace covered in ceramic tile including a relief inset of trees surrounding a lake. Over the years the whole thing was painted over several times with a variety of types of white paint. I already stripped off the inset but I'm afraid I removed some of the color and glaze. What can I use to remove the rest of the paint? How can I protect the piece I uncovered. Will it stand the heat from the fireplace?

Re: ceramic tile fireplace hidden under coats of paint

From: James

Date: 06 May 1999

Comments

If the tiles are really glazed, it would be very unusual for a stable glaze to be disturbed through "normal" cleaning or stripping of over paint. What did you use and how did you strip the paint? Generally a jellied paint stripper can be used to soften paint surfaces (as per application and safety instructions). Is it possible that the tiles are unglazed (terra cotta?) which were subsequently painted?

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Broken Marble Ink Stand

From: verandah@avana.net

Date: 14 May 1999

Comments

I have a c.1860 French ink stand with ormalu mounts. The base is green marble with black and hite veining. It's size is 1" thick, about 12" x 8". It has a fairly clean 8" break. I need to glue it backtogether and then fill and polish out the crack. Can someone recommend materials and a how to article. I've posted under glass and ceramics as this seemed more in line than wood furniture repair. I worked for a dealer in Chicago doing wood refinishing and minor repairs so I am not a neophyte but this will be my first time to try marble repair.

Re: Broken Marble Ink Stand

From: James

Date: 15 May 1999

Comments

Your problem raises questions of compatibility. The marble can be easily rebonded with Paraloid B-72. Filling and polishing is more problematic. Any chips and voids along the crack can be filled with Hxtal epoxy resin bulked with fumed colloidal silica and various dry pigments to match. Balancing degrees of opacity and coloration is the key to a discreet fill. Once cured you can polish the fills with glass paper, Micromesh and chrome polish. The problem is that these materials will polish the epoxy but abrade the surrounding marble if you come in contact with it. You would need polishing grits in the 1000's to bring the same lustre to the marble without leaving a dull sheen. You may need to check with a stone yard that specializes in polishing marble to acquire the appropriate polishing grits. If you are not familiar with resin fills, it can be a difficult process.

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Pottery and cold paint

From: BBott1@aol.com

Date: 15 May 1999

Comments

I have picked up a McCoy Dutch Boy cookie jar. It looks like it has sat in the same spot for thirty years and has alot of grease build up on it. Any suggestions on how to clean it without removing the paint?!

Re: Pottery and cold paint

From: James

Date: 18 May 1999

Comments

Original surfaces on McCoy should be glaze and not "paint". You can clean the object in warm soapy water (dish washing liquid) with a soft bristle brush or a nylon scrub pad. Dry off with a lint free cloth. Do not let it soak for long periods of time.

Re: Pottery and cold paint

From: Danno

Date: 03 Jun 1999

Comments

Stop!!! I have over 400 peices of mc coy and there several which orig. had cold over paint the dutch boy-girl cookie jars do have cold paint over the glaze. DON'T scrub or you will remove the paint. hope I'm not to late

Re: Pottery and cold paint

From: James

Date: 06 Jun 1999

Comments

Hope you were not too late as well. I was not aware that factory decorated McCoy had cold paint, indeed I was making a general assumption about factory decorated wares. I always try and err on the conservative and appreciate your input.

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New source for porcelain restoration products`

From: eve gamber - egamber@iamerica.net

Date: 18 May 1999

Comments

Looking for IPGR,Inc. Internaational Porcelain & Glass Repaidr.inc.

Re: New source for porcelain restoration products`

From: James

Date: 19 May 1999

Comments

Last I heard they were out of business. We buy materials from a variety of sources including Adhering Technologies (CA), Conservators Emporium (NV), Conservation Resources (VA), etc. What is it exactly that you are looking for?

Cleaning Ceramics

From: beccae@earthlink.net

Date: 16 May 1999

Comments

We have recently obtained several pieces of ceramics that have mud, dirt and other stains. We mainly want to know what we should use to clean the dirt out of the ceramic pieces without harming it. Also, we would like to use some of the pieces and would feel more comfortable in knowing that it is sanitary to eat from after cleaning it. I see that we should NOT be using Clorox and we should never soak the piece but clean it with a damp cloth using diluted Ethol Alcohol. Are there any other suggestions?

Re: Cleaning Ceramics

From: James

Date: 18 May 1999

Comments

Cleaning of ceramics is entirely dependent upon stability of glaze, enamel and gilt decoration and the porosity of the body (porcelain, stoneware, softpaste porcelain, pottery....)Vitrious ceramics are easier to clean and to remove stains from than porous ceramics. If you could be more specific as to what type of objects they are, their manufacturer, etc. I can give you more information on cleaning, use and aftercare.

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Getting Locked Out

From: Dena Stone

Date: 25 May 1999

Comments

I am working on a small plate which was broken cleanly in 4 pieces. They seem to come together well but when I glue them I get locked out. Should I glue them all at once and then clamp them and if so what clamp to use. I am exasperted.

Re: Getting Locked Out

From: James

Date: 25 May 1999

Comments

If you have carried out a "trial run" prior to bonding, you should know the sequence of four pieces. I generally bond all available pieces in one go. The only reason to clamp or tourniquet for realignment is if the piece has "sprung" (lost its firing tension once broken or cracked). This is a moderately rare problem more associated with bone chinas.

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abrasion between painting layers

From: Dena

Date: 27 May 1999

Comments

On a high fired porcelain ware what # and type of abrasive paper would be recommended after applying each layer of colored medium. If the paper is too fine I am not effective and if too coarse it removes the paint. I am not using glass papers however but rather silica carbides. Help!!

Re: abrasion between painting layers/Abrasives for restoration.

From: James

Date: 27 May 1999

Comments

Dena, There is nothing wrong with using silicon carbide abrasives as long as you are not coming in contact with original surfaces (i.e. glaze, enamels or gilt). Paper backed abrasives do seem a bit unforgiving when rubbing down paint between applications. We prefer Micro-mesh polishing cloth. It is a fabric impregnated with silicon carbide. 2400 grit is a good choice although they make a range of grades. It is pliable and easy to sand or polish (indispensable for resin fills) around difficult forms. A two inch square can last for weeks so don't order too much. It is also washable. Call Micro-Mesh at 1-800-225-3006 for a supplier near you. Glass papers are a good choice for rubbing down plaster, polyester or epoxy fills where you do need to rub down on or adjacent to the original surfaces. They will not abrade glazes. Also good for taking rust deposits off the glaze or a short cut to remove adhesive or paint traces without having to use solvents.

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chiped glass plate

From: dbblboggie@aol.com

Date: 27 May 1999

Comments

Is there any way I can file down plate so chip is not so noticable.

Re: chiped glass plate

From: James

Date: 27 May 1999

Comments

There are services for grinding and polishing out small chips on goblets, plates, bowls and the like. I don't think that it is something you would want to attempt on your own, nor is removal of original material an acceptable means of restoration on historic or valuable ceramics and glass. Determine what it is you have and then decide if grinding is the proper course. Local antique dealers may be able to refer you to a glass grinder.

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Gold lacquer fill on oriental ceramics

From: getaca@aol.com

Date: 29 May 1999

Comments

Does anyone know of a modern substitute/technique which emulates the gold lacquer fill often seen as a restoration on either Chinese or Japanese ceremaics. I find this type of fill aethetically satisfying compared to overpainting and would like to know how to carry it out, but minus obviously the use of an underground of poisonous lacquer. Thanks

Re: Gold lacquer fill on oriental ceramics

From: James

Date: 01 Jun 1999

Comments

There is little out on the subject but it is regaining favor as a technique in the orient after a lapse of several decades. There is a reference in this article to: Nakasato, T., 1988. Urushi as restoration material. The conservation of Far Eastern art: Abstracts of the contributions to the Kyoto congress. London: IIC, 49. I am not aware of substitutes for the toxic urushi lacquer but perhaps there is some information in the Nakasato article. Hope this helps a little in your search.

(page 54)

by STEPHEN KOOB (Urushi lacquer)-This is true lacquer, originating from the resin sap of the Asian tree Rhus verni- cifera. It has a long tradition of restoration use, primarily in Japan. It was used as early as 2500 B.C. for the repair of cracked earthenware, and its use continues into the 20th century (Nakasato 1988). Urushi has a clear yellow-brown appearance as a resin. In use, it was often mixed with pigments, and on ceramic repairs urushi was often coated with powdered gold (later burnished), or maki-e (pictorial) designs (fig. 7). No attempt was made to blend the fill in with the ceramic; in fact, the contrast presented by the original and the repair was esteemed. Urushi requires a very high humidity and a long time (24 hours) to set. It is irreversible and extremely toxic to work with. While aesthetically challenging for Western tastes, when coated with gold it is protected from oxidation and light and thus very stable. Other lacquer types found in China and Burma are less stable and have not been found as repairs. True urushi would allow the ceramic to be reused, a feature important in Japanese culture. By the late 20th century, with the advent of synthetic resin adhesives, urushi almost disappeared from use as a ceramic fill material. How- ever, it still has some traditional use, and is recently making a comeback (see section 6, Conclusions). JAIC 37(1998):49-67 From Journal of the American Institute for Conservation Spring 1998, Vol. 37, No. 1.

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text book needed

From: J.watt

Date: 31 May 1999

Comments

I am looking for a text book that explainds step by step restoration of pottery, china and porcelain. What products to use and how. How to seal cracks and repair glass. thanks

Re: text book needed

From: James

Date: 01 Jun 1999

Comments

I am not certain that there is a "by the numbers" book for learning ceramic restoration and conservation. My three favorite texts are Buys and Oakley, Conservation and Restoration of Ceramics; Nigel Williams, Porcelain Repair and Restoration (out of print); and Judy Larney, Restoring Ceramics (out of print). They certainly would serve as a general introduction to the field and compliment a course of instruction. The other books turn up from time to time. Do avoid out of date texts such as The Klein Method and How to Mend your Treasures. They are dangerous to self and object.

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Stoneware Crock Repair

From: tbhenning@centuryinter.net

Date: 05 Jun 1999

Comments

We recently purchased a 20 gallon crock that leaks. We would like to use it for winemaking and to make sauerkraut. Is there any glaze or finish that we could safely use to repair the leaks? Any information would be appreciated.

Re: Stoneware Crock Repair

From: James

Date: 06 Jun 1999

Comments

Generally restoration treatments to utilitarian objects relegates them to decorative objects. The range of available adhesives and sealants used to stop your crock from leaking are toxic and would leach out (and often breakdown quickly) when exposed to various liquids or foodstuffs. Alternatively you can use a glass, ceramic or stainless steel liner inside the crock.

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Clear glazes for porcelain

From: Martin UK

Date: 09 Jun 1999

Comments

regarding which glazes to use. I have read several books on ceramic restoration and they generally refer to a glaze by the name of chintex. It has been suggested to me that there are other products that are more suitable for the purpose. Have you any suggestions about glazes. Do you know of any products that are available in the United Kingdom and if so the possible location of their manufacturers.

Re: Clear glazes for porcelain

From: James

Date: 10 Jun 1999

Comments

If I remember correctly from our days in London, Chintex, Joel's, Rustins, and Chinaglaze are (were) all melamine urea formaldehyde glaze mediums with a catalyst. We have used Rustins clear glaze for 15 years. There have been some changes over the years but generally for the better. They are a British company. They have a tech dept. and can be reached by email at: rustins@rustins.co.uk It is widely available from most high street paint stores where Rustins products are carried. Other ceramic glazes are available from Stewart Stevens (London) and Conservation Resources (Oxford area?). There are other glazing alternatives such as stoving enamels (which are generally not recommended as they require heat to cure), acrylic resins (often peel or are too "plastic" looking), automotive lacquers, etc. etc. You have a great resource in the UKIC Ceramic & Glass group. They have periodic meetings which focus on refresher courses and various technical aspects of ceramic restoration and conservation. The UKIC website and link to the ceramics and glass section is at: http://www.ukic.org.uk/

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Cloudy Glass

From: Steve Turner

Date: 10 Jun 1999

Comments

I'm sorry if this is not the right "group" to ask this, but I haven't received a good answer from the others, so here it goes: Is there a way to remove the cloudy hard water deposits from glass? I have tried vinegar and other chemicals with no luck. Is there some kind of polish you can use? It is not an antique.

Re: Cloudy Glass

From: James

Date: 10 Jun 1999

Comments

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porcelain, pottery fill and color

From: Dale Peterson/restoration service

Date: 10 Jun 1999

Comments

In one answer to a former question when talking about glazes, you use the word "inpainting" when using "Rustin clear plastic coating". What is meant by inpainting , what is "Rustin clear plastic coating" used for and how, and where can you buy it? Is it better than tinted resin fills or used for different applications???

Secondly you talk about "tinted resin fills" replacing airbrushing for coloring and finishing a porcelain restoration job,--- what is it, how is it tinted and with what, and what technique is used to apply it and where is it available for purchase ? If it replaces airbrushing, I would like to learn about it!!

Re: porcelain, pottery fill and color

From: James

Date: 10 Jun 1999

Comments

Inpainting only refers to careful recreation of lost pattern, enamel or gilding specific to the area of damage, i.e. not over surrounding original surfaces. Rustins is available in the US from Conservator's Emporium in NV. It is manufactured in white and in clear. It can be airbrushed or used for hand painting. Inpainting is not a replacement for filling it is for...well, painting. Resin fills are made from Hxtal NYL epoxy resin and fumed colloidal silica. Both are available from US sources I have cited many times on this list. While the process is relatively simple, it does take some time to learn the skills of mimicking depth, translucence, and color of the fills to match the original ceramic and/or glaze. The resin and silica are mixed to a "cream cheese" consistancy, the clear gel can be opacified with titanium and tinted with dry color pigments. The mixture can be stored in the freezer for some days but older mixtures tend to slump. Onced cured, the fills are pared with a scalpel or rifflers, non-abrading glass papers, Micro-mesh polishing cloth and finally to a high luster with AutoSol chrome polish. Missing pattern, enamel and gilt can be inpainted with Rustins. It is possible to use the Hxtal as a paint medium over the fill for durability but it tends to crawl with larger applications. Isolation layers should be applied to the break edges of soft bodied ceramics to prevent penetration of epoxy resin. This can be done by applying a thin layer of Paraloid B-72 to the exposed void, chip or crack. Resin and silica can also be manipulated to remodel fingers etc., or pressed into silicone molds. It becomes difficult to use on larger missing semi-opaque voids like on a porcelain plate rim. Resins fills require an emphasis on advanced cleaning techniques as you do not have the "luxury" of covering up the damages, dirt and stains with an airbrush or overpainting beyond the areas of damage. Results are discreet, damage specific and very durable. While there is no mystery to tinted resin fills, I am afraid that it cannot be taught by book or newsgroup. You should experiment with this basic outline and expect months to develop the skill level. We have been using this technique for 15 years and while it never gets easy, the results continue to refine and surprise.

Cyanoacrylates in porcelain restoration

From: gmwhitford@aol.com

Date: 04 Mar 1999

Comments

I am referring to your statement that cyanoacrylates break down very quickly. I would like to know more about your experience with these glues. I have had a different experiece with this glue. Perhaps you could define what quickly is to you or tell me more about your experience with this glue. I am currently experimently with this glue and it's ability to hold up with repeated dishwashing.

Re: Cyanoacrylates in porcelain restoration

From: James

Date: 04 Mar 1999

Comments

We don't feel that restored items should be re-used as "functional" objects for food or beverages due to leaching of chemicals from adhesives or fillers...if this is indeed the reason for putting things into the dishwasher. Cyanoacrylates are fairly recent to the restoration and conservation scene. We use them only for tacking very small chips in the process of bonding larger broken porcelains. In our experience this adhesive is staining and irreversible when used on soft bodied ceramics as it has a tendency to soak into the fabric of pottery. Longevity of cyanoacrylates is a question which has not been fully answered. There is some supporting literature that it may break down with prolonged exposure to light or in alkaline conditions. (Horie, V.; 1987, Materials for Conservation. London, Butterworths.) We would consider that an adhesive breaking down within 10-15 years to be a short time frame.

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