Crane Jewelers
Jewelry
Seattle / WA / US
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Antique Diversity Unveiled
The charm of antique jewelry lies in the rich tapestry of materials and techniques employed in its creation. Let's delve into some commonly encountered materials and how they can be treated in the restoration process:
Enamel: Restoring enamel poses a challenge due to the disparities between modern and older formulations. Thermal expansion coefficients and firing temperatures vary, making exact matches tricky. Some effects are achieved by layering different enamels, and attempting to refire may result in color loss. Analyzing enamel chemically is futile as it transforms upon firing. Faux-enamel finishes using epoxy resins are an option but risk-looking plastic.
Gold or Silver Gilding: Pieces with a high-karat gold surface may have been gilded with toxic mercury. Adequate ventilation is crucial when soldering.
Hair: Hair, when used in jewelry, was coated with shellac, intricately worked, and shaped. However, restoring hair-coated jewelry is challenging due to its fragility and irreplaceability in heirloom pieces.
Lead: The use of lead in jewelry is both weak and toxic. Even small amounts can make gold brittle. Removing lead requires hazardous procedures with potent acids.
Micro Mosaics: Tissue loss in micro mosaics can be restored successfully, but these delicate pieces should avoid exposure to heat or moisture and should not be un-mounted.
Painted Miniatures: If possible, remove these from their mounts for restoration. The paintings can be cleaned and restored on a case-by-case basis.
Pietra Dura: Repairing Pietra Dura is possible but requires removal from the mounting. Matching original inlays can be challenging but often yields good results.
Plastics: Celluloid plastic, a substitute for ivory and amber, is sensitive to heat and chemicals.
Tortoise Shell: Obtained from the Hawksbill turtle (now endangered), tortoiseshell and horn become brittle with exposure. Restoration can be challenging, especially when dealing with cracked finished pieces.
Avoid these practices:
Lead Solder: A short-term fix that will break, potentially complicating proper repairs.
Glue Reliance: Glue breaks down over time; use it as a backup, if at all.
Destruction of Good Old Work: Preserve the original craftsmanship.
Stylistic Improvements: Stick to the piece's original lines.
Why Restore? Restoration opens avenues for learning from long-gone artists, exploring diverse materials, and enhancing stock value for retailers and dealers. Collectors can fine-tune their collections, appreciating pieces as originally intended.
If you seek restoration or repair, share pictures or reach out for advice. It's a passion I've pursued since childhood, and I'd be delighted to assist in preserving the beauty of these timeless treasures.
The charm of antique jewelry lies in the rich tapestry of materials and techniques employed in its creation. Let's delve into some commonly encountered materials and how they can be treated in the restoration process:
Enamel: Restoring enamel poses a challenge due to the disparities between modern and older formulations. Thermal expansion coefficients and firing temperatures vary, making exact matches tricky. Some effects are achieved by layering different enamels, and attempting to refire may result in color loss. Analyzing enamel chemically is futile as it transforms upon firing. Faux-enamel finishes using epoxy resins are an option but risk-looking plastic.
Gold or Silver Gilding: Pieces with a high-karat gold surface may have been gilded with toxic mercury. Adequate ventilation is crucial when soldering.
Hair: Hair, when used in jewelry, was coated with shellac, intricately worked, and shaped. However, restoring hair-coated jewelry is challenging due to its fragility and irreplaceability in heirloom pieces.
Lead: The use of lead in jewelry is both weak and toxic. Even small amounts can make gold brittle. Removing lead requires hazardous procedures with potent acids.
Micro Mosaics: Tissue loss in micro mosaics can be restored successfully, but these delicate pieces should avoid exposure to heat or moisture and should not be un-mounted.
Painted Miniatures: If possible, remove these from their mounts for restoration. The paintings can be cleaned and restored on a case-by-case basis.
Pietra Dura: Repairing Pietra Dura is possible but requires removal from the mounting. Matching original inlays can be challenging but often yields good results.
Plastics: Celluloid plastic, a substitute for ivory and amber, is sensitive to heat and chemicals.
Tortoise Shell: Obtained from the Hawksbill turtle (now endangered), tortoiseshell and horn become brittle with exposure. Restoration can be challenging, especially when dealing with cracked finished pieces.
Avoid these practices:
Lead Solder: A short-term fix that will break, potentially complicating proper repairs.
Glue Reliance: Glue breaks down over time; use it as a backup, if at all.
Destruction of Good Old Work: Preserve the original craftsmanship.
Stylistic Improvements: Stick to the piece's original lines.
Why Restore? Restoration opens avenues for learning from long-gone artists, exploring diverse materials, and enhancing stock value for retailers and dealers. Collectors can fine-tune their collections, appreciating pieces as originally intended.
If you seek restoration or repair, share pictures or reach out for advice. It's a passion I've pursued since childhood, and I'd be delighted to assist in preserving the beauty of these timeless treasures.
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