Series editors' preface - Wood Tools

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similar fabric is stretched across the surface of the marquetry. A brush coat of neoprene (polychloroprene) glue is applied and allowed to dry for about twenty minutes. An iron or heat gun is used, at around 50–60 °C, to soften the original adhesive and, with the use of spatulas, the surface is removed in one piece. Old adhesive is removed from the underside of the marquetry and the substrate. The procedure outlined above for boulle is repeated and the neoprene glue removed using ethanol. This method may be adapted for boulle, in which case a pressure sensitive tape that resists deformation below 60 °C may be substituted for the neoprene. Care must be taken to use minimal heat as the turtleshell may otherwise be embrittled and damaged. When the boulle is transferred so that it is face down on the paper, a compressible card may be used to compensate for inherent differences in thickness of metal and turtleshell and ensure the upper surface is level. 10.4.7 Coatings for boulle work The traditional coating material for boulle was a natural resin varnish, later shellac, sometimes followed by a pigmented wax polish. This slowed the diffusion of pollutants and moisture and saturated the surface of the turtleshell where it had become dull. Other surface finishes such as nitrocellulose and Paraloid B72 have also been used. A 7.5% w/v solution of Paraloid B72 in diacetone alcohol: ethanol 3:1 is suitable for brush application on boulle. Differential corrosion may become a problem where there are holidays in the coating or as it degrades. A clean and uncontaminated surface is essential for such coatings to be effective. Corrosion inhibitors and coatings are discussed more fully in the metals section (15.3). 10.4.8 Stringing and metal inlay Stringing may be purchased from specialist veneer suppliers but may need thicknessing to match the original. A jig, such as that illustrated in Figure 10.25, may be used for the purpose. Stringing may be laid using pressure from above (e.g. with a small veneer or Warrington pattern hammer) and the side simultaneously (e.g. with the rounded end of a scalpel handle) working over a length until the glue has gelled. Principles of conserving and repairing wooden furniture 481 (a) (b) Figure 10.25 A jig for thicknessing replacement stringing (a) A chisel plane is positioned against block (iii). The plane illustrated is a Record three-in-one plane with the bullnose removed. Block (i) functions as a fence when the stringing is pulled through the jig; (ii) is a thin piece of Formica or similar material; the block on the underside (iv) allows the jig to be held in a vice (b) The plane blade is inverted and its depth adjusted to produce stringing of the required dimension. Stringing is pulled through the jig in the direction indicated by the arrow Alternatively, veneer pins or gummed tape may be used to hold stringing tight to the adjacent veneer. Excess glue should be removed when gelled by running a chisel along the edge – this is far less time-consuming than trying to remove the excess once the glue has set. Some patterned bandings are still produced whilst others will have to be made up to match. Although they may initially appear complex (i) (ii) (iii) (iv)
482 Conservation of Furniture they are usually fairly straightforward, if a little time-consuming, to make up from scratch. Bennett (1990) has described the use of a jig to set the angles and create the banding in stages. There are several forms of metal inlay in furniture. Metal inlay was popular in England and the USA during the neo-classical revival at the beginning of the nineteenth century. Some designers and makers are particularly associated with inlaid metal decoration, including George Bullock and Charles Honore Lannuier. Thomas Hope (1807) referred to the early nineteenth century Parisian practice of stamping metal and wood together to produce repetitive designs that were then applied to furniture and small objects such as boxes. He noted ‘The metal ornament, and the ground of stained wood into which it is inserted, being, there, stamped together, and cut out, through dint of the same single mechanical process, they are always sure of fitting each other to the greatest degree of nicety.’ The use of lasers to reproduce such inlay is discussed by Minor (1996). The stamping process often left the edges on the underside slightly rounded over (Hawkins, 1986). Brass may be inlaid into fluting. If the brass has been lost a replacement can be made by making a positive and negative mould and then cramping brass sheet between them to shape it to the fluting. Once the edges of the brass have been filed to fit the flute on the object, the negative mould may be used as a cramping jig. Metal stringing often stands proud of the surface where the substrate has shrunk due to low RH. The traditional restoration treatment has been to remove original material so that the stringing fits the current dimensions. Other options are to support the stringing in place or to lay it with an overlap. Techniques for flattening creased metal, preparation and adhesives for laying it are discussed in the context of boulle (section 10.4.3). 10.5 Moulding and casting In furniture conservation, moulding and casting is most commonly used to produce copies or replicas of existing objects, parts or surfaces. Moulds are negative matrices from which positive casts identical to the original may be produced. The materials used for casting positives may be more chemically and physically stable than the original and are often easily distinguished from them, thus fulfilling ethical criteria for conservation treatments. Casting materials used to replace components should be physically and chemically stable, compatible with original material and not impose additional stresses on the object. Information on techniques of moulding and casting is widely available and thus is considered only briefly here, whilst the conservation aspects of these processes and the range of materials available is emphasized. Information on casting and moulding can be found in specialist publications such as Clark (1971), Larsen (1981) or booklets produced by manufacturers or suppliers of casting materials such as Alec Tiranti Ltd (UK) (1990, 1995) or the Polytek Development Corporation (USA) (1992). References in the conservation literature include Chase and Zycherman (1981), Minney (1994), Newton and Davison (1989), Thornton (1991a) and Waters (1983). Moulding and casting procedures are used extensively in restoration work for the replacement of missing elements because they are often easier and faster than using original materials and fabrication techniques, for example carving replacements for missing wooden or ivory elements. In addition to making repairs, conservators in museum practice are sometimes called upon to produce replicas of objects for study collections, or to oversee the production of replicas for sale in museum shops. In either case a working knowledge of moulding and casting is required to prevent damage to originals. Different materials and techniques may be required for these various applications. 10.5.1 General procedure Moulding and casting can be thought of as the interaction between three categories of materials: moulding materials for the production of negatives, casting materials for the production of positives (including fillers and colorants) and release agents and coatings to allow pattern-to-mould and mould-to-cast separation without damage. The object to be copied is generally referred to as a pattern. The proced-
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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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occur either as a result of the des
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colour of a decorative paint surfac
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traditional furniture materials. Po
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preferentially absorb energy at wav
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may not be directly proportional to
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Figure 8.4 Detail of a pine panel f
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Figure 8.6 Detail of the lower part
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(a) (b) to changes in the medium us
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which property changes become appar
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ond with the support. Uneven drying
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the structure of the lacquer film a
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8.10 Adhesives In practice, adhesiv
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~CH 2—CH—CH 2~ | O Alkoxy radic
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within the leather leads to a react
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crease at corners of upholstery, or
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eaves of buildings are a source fro
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inter-chain interactions are the ma
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(a) (b) Figure 8.13 Degradation of
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trims to the frame may render fibre
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Wessell (eds), Deterioration of Mat
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Shashoua, Y. (1996) A passive appro
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Part 4 Conservation
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9 Conservation preliminaries This c
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techniques and rigorous grounding i
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• The retention of as much origin
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(a) (b) (c) (d) (e) Conservation pr
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and preservation. He proposed a mod
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cally be undertaken. Before embarki
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cal, solutions include enclosing th
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various materials that make up the
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the nature, extent, severity and lo
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treatment needs. Reliable identific
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Figure 9.2 A good quality loupe (ri
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information should always be carefu
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ange immediately upon excitation. T
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when dyes are being used to achieve
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cause inaccurate readings. Wood tha
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structure of elements that have bee
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(a) ‘reading’ of the object. Fo
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design. This can be specially commi
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candle 1900 K Household electric li
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fessional quality shots in conserva
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• Availability of adaptors for cl
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Recording and reporting treatment O
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should also be provided in or close
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it is possible to share some facili
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Solvent storage Solvents should be
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(a) (b) and condition of incoming a
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Wherever possible, manual handling
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some specific details of that proce
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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
Page 466 and 467: and other emergencies such as gas l
Page 468 and 469: Dunbar, M. (1989) Restoring, Tuning
Page 470 and 471: Stevens, R.E. (1980) Microscopical
Page 472 and 473: example, extensive treatment on one
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Page 476 and 477: (a) (b) Chair leg False tenon 1/3 a
Page 478 and 479: (a) (b) (c) Figure 10.3 Testing the
Page 480 and 481: Hammer veneering with animal/hide g
Page 482 and 483: (a) (b) Principles of conserving an
Page 484 and 485: Table 10.2 Cramping/clamping device
Page 486 and 487: Table 10.3 Abrasives Principles of
Page 488 and 489: Table 10.3 Abrasives - continued ne
Page 490 and 491: measure the diagonals across the se
Page 492 and 493: (i) (ii) (a) Figure 10.11 Dismantli
Page 494 and 495: 10.2.4 Reinforcing joints If a loos
Page 496 and 497: microballoons. They may be levelled
Page 498 and 499: Figure 10.15 Jig used to keep fills
Page 500 and 501: as a gap filler in cases where a fa
Page 502 and 503: should be critically evaluated befo
Page 504 and 505: (a) (b) Figure 10.21 Marking out do
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Page 508 and 509: e progressively tightened over the
Page 510 and 511: Boucher (1995) described a techniqu
Page 512 and 513: (a) (b) (c) Figure 10.23 Repairing
Page 514 and 515: ducing the curves on boulle and mar
Page 518 and 519: ures involved in preparing a copy o
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Page 522 and 523: materials, used extensively by scul
Page 524 and 525: making material. Traditional releas
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Page 528 and 529: Properties, Chemistry and Preservat
Page 530 and 531: ehaviour of twentieth and twenty-fi
Page 532 and 533: (a) (b) (c) cleaned area should be
Page 534 and 535: Cleaning tests may embrace a wide r
Page 536 and 537: 11.2 Mechanical cleaning Mechanical
Page 538 and 539: When a scalpel is used to pick away
Page 540 and 541: adhere the unwanted varnish or dirt
Page 542 and 543: USA solvents (also known as) TLV (A
Page 544 and 545: alent to low aromatic (c.17-20% aro
Page 546 and 547: R' | R - C O The presence of the c
Page 548 and 549: suppliers. Careful selection of sol
Page 550 and 551: agency within the Department of Lab
Page 552 and 553: There are four stages in the dissol
Page 554 and 555: Figure 11.10 The positions of some
Page 556 and 557: Table 11.2 Teas’ solvent referenc
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Page 560 and 561: as odourless mineral spirits or whi
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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
Page 762 and 763:
springs, iron tacks, or brass naili
Page 764 and 765:
Reapplication of lined textiles Sta
Page 766 and 767:
16.4 Leather, parchment and shagree
Page 768 and 769:
minium triformate or aluminium alko
Page 770 and 771:
(1991) reported that stronger bonds
Page 772 and 773:
y enzymatic or lime action and whic
Page 774 and 775:
The principles outlined above for s
Page 776 and 777:
Figure 16.12 Front rail of a ninete
Page 778 and 779:
may be appropriate for leather lini
Page 780 and 781:
If the surface is unaffected by spo
Page 782 and 783:
cation and characterization of the
Page 784 and 785:
may not be representative of the ki
Page 786 and 787:
Deoxycholate soap recipe 2 g deoxyc
Page 788 and 789:
that which occurs during the remova
Page 790 and 791:
(a) (b) (c) (d) 16.7.3 Cleaning [1]
Page 792 and 793:
In the past, abrasives such as rott
Page 794 and 795:
Wax has been used many times to inf
Page 796 and 797:
permanently etch the lacquer, leavi
Page 798 and 799:
etouching and coating of lacquer ob
Page 800 and 801:
(a) (b) Figure 16.23 Japanese inro
Page 802 and 803:
Extended exposure to polar solvents
Page 804 and 805:
Retouching may involve reproducing
Page 806 and 807:
ethical considerations. Objects tha
Page 808 and 809:
tion will need to be reduced accord
Page 810 and 811:
(a) (b) Figure 16.28 Filling with a
Page 812 and 813:
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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