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Series editors' preface - Wood Tools

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304 Conservation of Furniture<br />

(a) (b)<br />

Figure 7.11 A mid-eighteenth century mahogany<br />

architect’s table, English<br />

(a) Table open (after conservation)<br />

(b) Detail of the open drawer (after conservation)<br />

(c) Detail of the jointing of drawer front to front leg<br />

(mortise and tenoned) and drawer front to drawer side<br />

(dovetail housing) before conservation<br />

known as end clamps, restrict the movement<br />

of panels or boards and often result in splits<br />

caused by compression set when the RH<br />

fluctuates (Stürmer and Werwein, 1986). Many<br />

examples of design not suited to accommodate<br />

movement that would occur in service are<br />

found in the early use of walnut in English<br />

furniture, where mouldings are extensively<br />

applied across the grain and veneers are laid<br />

over both frame and panel of framed components<br />

such as doors. The nailing or screwing of<br />

drawer bottoms is another example. Splits<br />

along the grain of wood near the ends of<br />

panels are typical of the damage that may<br />

occur through the use of cleats or battens<br />

fixed across the grain of the wood in the<br />

construction of doors and fall-fronts in furniture.<br />

Figure 7.13 shows a detail of the use of<br />

cleats and typical damage that may result<br />

when the two components are fixed in relation<br />

to each other instead of being allowed to<br />

move (as could occur for example if a dovetail<br />

housing were used).<br />

(c)<br />

The use of metals with wood is one of the<br />

commonest examples of the use of incompatible<br />

materials. Strap hinges running across the<br />

grain and boulle marquetry are two instances<br />

of this. The furniture designed by Carlo Bugatti<br />

(1856–1940) often develops problems in the<br />

vellum or parchment coverings that decorate<br />

the furniture as the amount of expansion and<br />

contraction of the skin material is different from<br />

the substrate wood. Similar problems have<br />

occurred with furniture decorated in the style<br />

of Andres Charles Boulle in which veneers of<br />

brass and tortoiseshell are frequently combined<br />

with pewter, horn and exotic woods. This is<br />

nearly always found to have suffered tremendous<br />

problems of loose and lifting veneers<br />

requiring elaborate and time-consuming treatments<br />

(Alcouffe, 1977; Considine et al., 1990;<br />

Eames, 1980; Michaelsen, 1978; Ramond, 1989;<br />

Wackernagel 1978).<br />

It is actually very difficult to overcome all<br />

these potential design faults and still produce<br />

something interesting and usable.

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