Series editors' preface - Wood Tools

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(a) (b) (c) (d) (e) Conservation preliminaries 373 Figure 9.1 French (Paris) cabinet, nineteenth century, stamped Vitel (active 1838–64). (a) Front and sides decorated with Japanese lacquer panels dating from c.1630, these panels framed by marquetry elements in turtleshell, brass, ebony, satinwood and purpleheart, with ormolu mounts and a Brescia marble slab top. (b) Lacquer panel removed from the front of the cabinet, showing where wood was removed to allow a lock to be fitted to the cabinet, and a strip of overpaint applied around the edges. (c) Lacquer panel from the side of the cabinet. The decoration on the two side panels aligns, suggesting they were originally one integrated piece that has been sawn in two. It is likely that the side panels were part of a chest at some time. The side panels have been patched in positions corresponding to where handles would have been fitted on a chest. (d) Rear view of side panel showing nashiji decoration on the patch. (e) Side panel viewed under UV, showing patchy varnish layer/s
374 Conservation of Furniture The complexity of dealing with an object that has multi-layed values and a multi-cultural history is demonstrated by a piece of furniture found in the collection of the Victoria and Albert Museum, London. Figure 9.1a shows an early nineteenth century French cabinet (accession number 1084-1882). The front and side panels are high quality Japanese export lacquer dating from the 1630s (Figure 9.1b). The panels originally formed part of a chest, as evidenced by lacquer inserts in the side panels. Both front and side panels are constructed using a single softwood board onto which the urushi decoration has been applied. The panels are framed by ormolu mouldings. Nails have been driven through the mouldings and panels to fix them to the cabinet. The side panels have a patch visible at the top of the panel in a position that corresponds to the position of a handle on the original chest (Figure 9.1c). The patch is comprised of urushi and wood and has nashiji decoration on the back (Figure 9.1d). The patch, once fitted, was integrated into the panel decoration using japanning techniques. Varnish was then applied over the whole panel. The decoration on the side panels is now somewhat obscured under normal viewing conditions by a cloudy effect caused by degradation of later varnish layers. Figure 9.1e shows patchy varnish on one of the side panels, under UV. Various approaches could be suggested for the conservation of the cabinet and the lacquer panels: • The panels are single wide boards, prone to expand and contract with fluctuations in RH. In the absence of a stable environment, it could be argued that the panels, aesthetically and historically important in their own right, should be removed to facilitate their preservation in an undamaged state. • The panels form part of a greater whole and should not be separated from the cabinet. Removing the panels would disrupt the aesthetic, historical and functional aspects of the cabinet. The cabinet should be preserved as an integrated whole. • The history of the panels spans 350 years. To remove the varnish would be to disrupt that historical continuity and diminish the historical value of the object as a whole. • Technical understanding of the materials and techniques of japanning found in combination with oriental lacquer would be facilitated by retaining the varnish. • Technical understanding of export lacquer techniques would be facilitated by removing the varnish. • The aesthetic value of the panels is compromised by the cloudy appearance of the old varnish, so the varnish should be removed. • One of the characteristics Europeans found desirable about Oriental lacquer its lustre and sheen, the translucent quality of the finish. The original intent of both the Japanese maker of the panels and the Europeans who fixed them into the cabinet should be respected. The conservation treatment of this cabinet and the lacquer panels would be determined by which aspect/s are most highly valued at the present time. A good case could be made for removing the panels or for leaving them fixed to the cabinet. Similarly, a persuasive argument could be made for retaining or removing varnish. The conclusion that there are no absolutely right answers should also lead us to the possibility that there are no absolutely wrong answers. Rather than abdicating responsibility, however, we are required to exercise judgement. Conservators are required to find a course of action that balances conflicting values and is ethically defensible. 9.2.4 <strong>Tools</strong> for balanced ethical judgement Balanced ethical decision-making is a threestage process. First, agree a clearly defined treatment goal with interested parties (e.g. curator, owner, artist etc.). Secondly, establish the relative importance of the values embodied in the object (aesthetic, historical, spiritual etc.), undertaking further research about the object if necessary. Thirdly, establish a treatment that provides the best balance between the most important values. The following two approaches have been proposed to assist conservators in finding the right balance. Caple (2000) suggested that any conservation activity required a compromise between the three absolutes of revelation, investigation
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Conservation of Furniture
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Conservation of Furniture Shayne Ri
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Contents Series editors’ preface
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3.2.5 Coated fabrics and ‘leather
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The actual move 275 Protection of o
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Recording and reporting treatment 4
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11.5.6 Enzymes 548 11.5.7 Blanching
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15.3.5 Repairs 683 15.3.6 Replaceme
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16.9.2 General care 771 16.9.3 Clea
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Series editors’ preface The conse
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Contributors Part 1 History 1 Furni
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Brenda Keneghan Senior Conservation
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Acknowledgements It would take a ve
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Illustration acknowledgements The a
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Figure 4.14 (a,c,d) Drawing by Liz
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Figure 11.9 Julie Arslano˘glu base
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Figure 15.17 Courtesy of P.R. Jacks
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Part 1 History
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1 Furniture history 1.1 Introductio
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Figure 1.2 Klismos chair, English,
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Figure 1.3 Late medieval oak Englis
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conjunction of polychromy and carvi
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Materials used The choice of materi
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period reflects the dour and simple
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Figure 1.10 High-backed cane chair,
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to use the continental dovetailing
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Figure 1.14 Japanned cabinet on sta
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furniture by contrast was generally
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Figure 1.16 A mahogany English Rege
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One process of construction that co
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eforms in education (1870 Elementar
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chesterfields, chiffoniers, davenpo
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Figure 1.20 Papier mâché chair, E
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Figure 1.21 Thonet bentwood chair,
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major feature, and confirmed the se
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Figure 1.25 Sideboard, ‘Casablanc
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Figure 1.27 Tulip chair, designed b
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The range of finishes has increased
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Viaux, J. (1962) Le Meuble en Franc
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Specific texts relating to trade or
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Part 2 Materials
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2 Wood and wooden structures It is
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many properties, such as increasing
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ant consideration in the selection
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2.2.2 Wood anatomy: softwoods The c
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may be gradual in some woods, abrup
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PARENCHYMA ARRANGEMENTS V P Apotrac
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the United States. In the UK, the T
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Ash - Fraxinus spp. (1) F. american
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Birch - Betula spp. (1) B. alleghan
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Rosewood - Dalbergia spp. D latifol
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A A northern red oak Quercus rubra
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Figure 2.9 Tangential microscopic v
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In the walnut genus, Juglans, two i
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Figure 2.12 A representative portio
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depending upon species, whether sap
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0 and 25% moisture content. They ha
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Equilibrium moisture content (%) 28
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mechanical effects of repeated shri
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wood member, for example, a block o
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The strength of wood in compression
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er of defects and repairs, and the
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unwanted movement in the joint is r
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2.7.5 Other joint types Among other
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Figure 2.30 Dovetails and associate
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3 Upholstery materials and structur
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Figure 3.1 A late sixteenth century
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Epidermis/ skin Hair shaft Sweat gl
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it over a blunt metal blade or by p
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and dried to remove unwanted flesh
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Rattan or cane The cane that is use
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wood pulp and cellulose acetate fro
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The surfaces of both woven and non-
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(Gill and Eastop, 2001). ‘Throwaw
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was not until the early nineteenth
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(a) (b) (c) Horse hair, obtained fr
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The ability of elastomers to be mou
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include polysaccharide gums such as
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Shearer, G.L. (1989) An Evaluation
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Plastics and polymers, coatings and
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Melamine formaldehyde (MF) Phenol f
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Polyurethanes (PUR) Poly(vinyl acet
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CH 2—OOCR l R ll COO—CH O CH
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(c) 4.7.4 Proteins Plastics and pol
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Triterpenoids Plastics and polymers
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Figure 5.2 Sources of ivory that ha
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(a) (b) Bone and antler Bone has be
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Table 5.1 Class characteristics of
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In walrus ivory an outer primary de
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(a) (b) imitate the more costly tur
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Figure 5.12 Mollusc shells used in
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tive applications. Metal tools have
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e preferred by hand smiths until it
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Table 5.2 Relationship between comp
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observed features can be carried ou
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Figure 5.14 The use of a crane to m
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Early in the fourteenth century sma
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diffraction, energy dispersive X-ra
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a substance exists as a hybrid of t
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Table 5.3 Pigments Other materials
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Table 5.3 Pigments - continued Othe
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Table 5.3 Pigments - continued Othe
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Table 5.3 Pigments - continued will
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Table 5.4 Some traditional colorant
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parent to X-rays. X-ray diffraction
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Larsen, E.B. (1984) Electrotyping,
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Van Duin, P. (1989) Two pairs of Bo
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Part 3 Deterioration
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6 General review of environment and
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which water, oxygen and other react
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standard free energies of starting
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protect the material. When these be
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Table 6.1 UV Component of various l
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through which daylight is highly di
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climate. An important aspect of the
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(a) 60 (b) 30 55 30 50 45 25 40 35
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panying fungal attack. Animal fibre
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allowed to expand in one part of th
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paint, silk and some dyes and pigme
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ences listed at the end of the foll
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about by localized conditions such
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about the same size as the width of
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ing for some time before they are n
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may cause irreparable damage. Appli
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ensure that the chance of further i
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plied by the density of the materia
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6.2.8 Environmental management for
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est changed at the same intervals.
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in locations familiar to all to sav
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Appelbaum, B. (1992) Guide to Envir
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7 Deterioration of wood and wooden
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(a) Figure 7.1 A knot is a portion
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figure or behaviour. Tangential (fl
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time of exposure, moisture content
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RH changes lead to changes in moist
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Equilibrium Moisture Content (EMC)
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(a) (b) Figure 7.6 The common furni
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one has proof of active infestation
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including starch depletion of timbe
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ise, when making wooden structures,
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(a) (b) (a) (b) Faults in execution
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Figure 7.14 Rear door of a boulle b
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Relative humidity (%) 100 90 80 70
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woodworm damage is accompanied by s
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century. In between these examples
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8 Deterioration of other materials
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(Tennent and Baird, 1985). Coatings
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Table 8.2 Copper corrosion products
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Table 8.5 Galvanic series in seawat
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Page 368 and 369: Figure 8.4 Detail of a pine panel f
Page 370 and 371: Figure 8.6 Detail of the lower part
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Page 374 and 375: which property changes become appar
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Page 402 and 403: 9 Conservation preliminaries This c
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Page 438 and 439: candle 1900 K Household electric li
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Page 442 and 443: • Availability of adaptors for cl
Page 444 and 445: Recording and reporting treatment O
Page 446 and 447: should also be provided in or close
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outes of entry to the body; risk ph
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(a) (b) Figure 9.11 Examples of app
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isks so that harm is unlikely? Only
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general maintenance of the workshop
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and other emergencies such as gas l
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Dunbar, M. (1989) Restoring, Tuning
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Stevens, R.E. (1980) Microscopical
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example, extensive treatment on one
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of the stock and a rule of thumb fo
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(a) (b) Chair leg False tenon 1/3 a
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(a) (b) (c) Figure 10.3 Testing the
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Hammer veneering with animal/hide g
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(a) (b) Principles of conserving an
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Table 10.2 Cramping/clamping device
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Table 10.3 Abrasives Principles of
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Table 10.3 Abrasives - continued ne
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measure the diagonals across the se
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(i) (ii) (a) Figure 10.11 Dismantli
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10.2.4 Reinforcing joints If a loos
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microballoons. They may be levelled
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Figure 10.15 Jig used to keep fills
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as a gap filler in cases where a fa
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should be critically evaluated befo
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(a) (b) Figure 10.21 Marking out do
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to the substrate or by using paper
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e progressively tightened over the
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Boucher (1995) described a techniqu
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(a) (b) (c) Figure 10.23 Repairing
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ducing the curves on boulle and mar
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similar fabric is stretched across
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ures involved in preparing a copy o
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and capture a high degree of detail
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materials, used extensively by scul
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making material. Traditional releas
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The compo can be rolled out into a
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Properties, Chemistry and Preservat
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ehaviour of twentieth and twenty-fi
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(a) (b) (c) cleaned area should be
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Cleaning tests may embrace a wide r
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11.2 Mechanical cleaning Mechanical
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When a scalpel is used to pick away
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adhere the unwanted varnish or dirt
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USA solvents (also known as) TLV (A
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alent to low aromatic (c.17-20% aro
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R' | R - C O The presence of the c
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suppliers. Careful selection of sol
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agency within the Department of Lab
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There are four stages in the dissol
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Figure 11.10 The positions of some
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Table 11.2 Teas’ solvent referenc
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ethanol acetone white spirit Figure
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as odourless mineral spirits or whi
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effective in breaking down coatings
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11.4.3 Acids Organic acids have the
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keep the contact time of both clean
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The two primary factors in choosing
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Detergents Commercially viable synt
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(a) (b) Figure 11.19 Orientation of
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carbon rinse is required (Burnstock
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Table 11.8 Properties of some deter
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constant (k) (at standard temperatu
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Conditional stability constant (log
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solution and act as a buffer, e.g.
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Figure 11.24 Old residues of a coll
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General purpose protease gel 100 ml
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Wax pastes have traditionally been
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on the application. It has been sug
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As with gels formulated from cellul
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Leonard, M., Whitten, J., Gamblin,
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Viscosity may be manipulated to mee
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12.2.2 Penetration of consolidant a
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Natural materials Wax has been used
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tive. Volatile ‘binding’ media
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that influences the choice of gelat
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malachite and azurite. Decorative s
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of flakes and cups but care should
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damage when levelling the fill and
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erty of the adhesive polymer rather
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dimensional forms such as curved co
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(a) (b) (c) (d) Principles of c
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chemical stability, flexibility and
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colours are ideal for under-saturat
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and those that must withstand use.
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efractive index for air is 1.003 (B
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use whenever possible and many cons
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tic, dammar and MS2A. Window glass
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although slower evaporating solvent
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ut insoluble in acetone and lower a
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Figure 12.13 Diagrammatic represent
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(a) (b) ‘touch-up’ guns may be
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appearance of paintings, Studies in
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American Chemical Society, Washingt
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often rely on self-levelling spray
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ecoming progressively harder and da
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Identifying a historical progressio
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normally seen, so that it can be mo
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Figure 13.4 Parafilm ® is a thin w
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of an overall finishing strategy. I
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e used cautiously and with suitable
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(a) (b) (c) Figure 13.6 The use of
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Figure 13.7 Proprietary shellac sti
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Thus conservation grade materials m
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ing the colour. This may be useful
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materials is their photochemical st
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(a) (b) Figure 13.11 Use of oils (a
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French polishing French polishing d
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during a polishing session. If the
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applying fresh polish before pullin
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the addition of a separate thixotro
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Roelop, W. (1994) Coloured mordants
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eflective shine, whilst oil gilding
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is used for laying gold and silver
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wood be dry, free of grime, oil and
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necessary to use a size coat as str
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however, makes it more difficult to
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flutes or other details in the carv
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14.2.12 Yellow ochre A coat of size
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applied only to highlight areas (Fi
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Figure 14.12 Manipulating the gold
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14.2.17 Double gilding Water gildin
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ground would be prepared uniformly
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areas, however deep, that have been
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15 Conserving other materials I Thi
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Consolidation Powdering or flaking
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synthetic materials, such as Paralo
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shell or horn itself may be dyed wi
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oration and brittleness. The cellul
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to reverse if necessary. Gelatin ma
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emoval. Dusting or wiping over the
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Figure 15.4 Reverse side of a music
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of electrolytes (e.g. after removin
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gases, vapours, liquids and ions. T
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when the object is handled. Researc
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and graphite. They were commonly us
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(a) (c) so if the treatment is to a
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into consideration the importance a
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Alkaline glycerol solution will rem
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Figure 15.11 A gold snuff box, c.18
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(1990) and CCI notes 9/7 (1993). Th
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into the workplace. The type of exp
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(a) (b) Figure 15.14 Use of pressur
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ensure that any water residues are
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The materials used in the decoratio
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solvent creeping behind or undernea
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Snow, C.E. and Weisser, T.D. (1984)
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Koob, S.P. (1986) The use of Paralo
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coatings that may have been applied
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acrylic paint may be used if it is
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16.2 Plastics 16.2.1 Introduction t
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PVAC, Paraloid B72, ethylene vinyl
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dyed by contract. Although this may
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Textiles used in upholstery conserv
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springs, iron tacks, or brass naili
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Reapplication of lined textiles Sta
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16.4 Leather, parchment and shagree
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minium triformate or aluminium alko
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(1991) reported that stronger bonds
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y enzymatic or lime action and whic
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The principles outlined above for s
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Figure 16.12 Front rail of a ninete
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may be appropriate for leather lini
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If the surface is unaffected by spo
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cation and characterization of the
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may not be representative of the ki
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Deoxycholate soap recipe 2 g deoxyc
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that which occurs during the remova
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(a) (b) (c) (d) 16.7.3 Cleaning [1]
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In the past, abrasives such as rott
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Wax has been used many times to inf
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permanently etch the lacquer, leavi
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etouching and coating of lacquer ob
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(a) (b) Figure 16.23 Japanese inro
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Extended exposure to polar solvents
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Retouching may involve reproducing
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ethical considerations. Objects tha
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tion will need to be reduced accord
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(a) (b) Figure 16.28 Filling with a
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to worked through the gold leaf slo
Page 814 and 815:
Down, J.L., MacDonald, M.A., Willia
Page 816 and 817:
Rococo Lacquers, Arbeitshefte des B
Page 818 and 819:
Budden, S. (ed.) (1991) Gilding and
Page 820 and 821:
Index Aalto, Alvar, 36, 38 Abalone
Page 822 and 823:
Cabinetscraper, 449 Cabriole leg, 2
Page 824 and 825:
Comparison, 385 Composites, 129 Com
Page 826 and 827:
Electromotive force (EMF) series, 3
Page 828 and 829:
deterioration, 333-5 gesso grounds,
Page 830 and 831:
textiles, 351 wood, 290-1 for photo
Page 832 and 833:
extenders, 145 identification, 187,
Page 834 and 835:
plastics, 721 See also Coatings Rev
Page 836 and 837:
Textiles, 107-12, 120 conservation,
Page 838 and 839:
epair material selection, 437-9 woo
Page 840 and 841:
(a) (c) Plate 1 Detail of leather u
Page 842 and 843:
Plate 3 Side table (c.1775) designe
Page 844 and 845:
(a) (b) Plate 6 A tall case japanne
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