Series editors' preface - Wood Tools

386 Conservation of Furniture
The number and arrangement of pins in a
drawer dovetail and the direction of the grain
in drawer bottoms may follow a distinct trend
in English furniture in relation to date.
However, it would be unwise to assert because
of a certain arrangement of these elements that
a drawer, still less the whole piece of furniture
must have been made at a particular date. In
this territory, there may be several alternative
explanations or possibilities and the development
of standards becomes to a large extent
something that each individual has to do for
themselves from the available information.
The development of this ‘connoisseurship’
can be assisted by several things, first among
which is the opportunity to examine primary
standards. In furniture terms this means looking
at objects for which it is known who made
them, where they were made, when they were
made, where they have been since and what
has been done to them since they were made.
The best of these are items that were sold by
the maker to the present owner who has never
done anything to them. Such items are rare.
Careful observation, accurate recording and
comparison with other items to establish similarities
and differences then provides a reference
standard for future comparison.
Estimating
A similar approach to that described in the
foregoing paragraph can be adopted as a
means to the end of producing accurate estimates
of the timing and cost of conservation
work. Estimates are more likely to be accurate
if they are based on a fairly detailed breakdown
of any problem and its likely method of
solution and also if they are based on a rate for
each aspect of the work which has been developed
from previous work. The systematic
breakdown (functional decomposition) of conservation
condition provides the basis for proposal
of treatment and hence for estimating
based on the type, rate and amount of work.
The guides for estimating for antique furniture
repairs and for estimating for cabinetmakers
that were produced by CoSIRA (the Council for
Small Industries in Rural Areas) were based on
a rate for each element of a job that was calculated
according to the type of work and the
number and size of the elements required. For
example laying patches of loose veneer might
be calculated at so much per square inch per
patch. Such figures may be useful as a guide in
the first instance but there is no substitute for
keeping accurate records of one’s own work to
use as a basis for estimating future work.
However, in a competitive world, bench marking
(in this case, comparison with other people’s
rates and times) is obviously important.
Conservators seeking to develop good estimating
skills should find much of interest in Brook
(1998), Paxton (1999) and in the code of estimating
practice of the Procurement Committee
of the Chartered Institute of Building (1997).
Gross examination
Gross examination often concentrates on low
power optical methods using different light
sources but should also make use of the other
senses, of touch, smell, taste and hearing.
Gross examination with the naked eye is
usually a helpful first step in revealing details
of materials, structure, techniques and condition.
There is much that can be determined
without the aid of sophisticated equipment and
it is important to establish the general character
of materials before any attempt is made to
establish their more exact identities. The construction
techniques of furniture can be examined
visually, under normal or raking light, for
evidence of tool marks and joinery techniques
(Kaye, 1991; Smith, 1975; Van Horne, 1991b).
The enormous variety of surface decorations
on furniture can be examined by eye and
when necessary under magnification, to help
determine manufacture techniques, methods of
application and the nature of materials and
their condition (Brachert, 1986; Buchholz,
1991; Burek, 1989; Hulbert, 1987; Michaelsen,
1989, 1992; Van Duin, 1989; Young et al.,
1991). Rather vague problems such as surface
haziness may become visible as specific surface
deterioration phenomena and previous
restorations may be revealed by slight differences
in opacity, colour or gloss of the surface
finish. Features such as dirt particles and
craquelure details and an increased sense of
depth, are revealed through low magnification
techniques. Changing the type and angle of the
light, the position of the object or one’s own
viewpoint may reveal new information each
time. Raking light (light shone across the surface
at a low angle to it) may reveal fine surface
detail such as engraved or incised marks
arising from the use of particular tools and may