Series editors' preface - Wood Tools

often rely on self-levelling spray finishes such
as nitrocellulose and catalysed lacquers.
Complex decorative finishes required a wide
knowledge of materials and a greater degree
of skill. Wood finishing recipes dating from
the twelfth century may be found in translations
of the work of Theophilis (Dodwell,
1961; Hawthorne and Smith, 1963). The finishing
of wood panelling and furniture is
mentioned in many historic treatises, including
Sheraton (1803), and became the subject of
specialist publications with the oft-reprinted
and plagiarized Cabinetmaker’s Guide of 1827
(Mussey, 1987). Twentieth century publications
on wood finishing such as Baron (1987), Frank
(1981), Hayward (1988) and Oughton (1982)
are regularly supplemented by books
published for the amateur enthusiast.
Information on historical aspects of transparent
finishes can be found in Brachert (1978–9),
Mussey (1980, 1982a,b), Penn (1966), Walch
(1993) and Walch and Koller (1997). Barnes
(1938) discusses the chemistry of shellac,
whilst Mills and White (1977) discuss the
chemistry of a variety of natural resins. A
discussion of stains applied to wood furniture
can be found in Baumeister et al. (1997),
Roelop (1994) and Thornton (1998b). Dyes are
the subject of specialist periodicals such as
Dyes in History and Archaeology but articles
may also be published in art history journals,
e.g. Berrie and Lomax (1996/97), or in conservation
literature, e.g. Keijzer (1988).
Many of the materials discussed below are
potentially dangerous. It is the responsibility of
the conservator to be fully aware of the hazard
presented and to take adequate precautionary
measures. A high standard of workshop and
personal hygiene and appropriate health and
safety precautions should be maintained when
working with finishing materials.
13.1.1 Photochemical oxidation and
patina
Patination in furniture may be defined as a
desirable change in appearance brought about
by time and use. It usually has several aspects,
such as photochemical degradation of the
wood surface and/or surface finish as well as
wear and other evidence of use. The subject
of patination is somewhat subjective. It is a
concept much beloved in the antique trade
Conserving transparent coatings on wood 607
and there is undoubtedly an element of selective
historicity, a belief that some changes are
valid and some are not, associated with it. The
more recent the change, the less likely it is to
be perceived as patination rather than undesirable
damage.
Any piece of furniture that has been in use
for a significant period will exhibit wear on
exposed surfaces such as arm rests or front
stretcher rails, as well as that which results
from the working of the piece, such as drawer
runners. Surface wear may also develop as a
result of regular wax polishing. Stains may be
caused by wet vases or drinking glasses whilst
ink-spots may be found on a writing surface.
Burn marks, scratches and dents may all
contribute to a natural worn appearance.
In general, patination is considered an
integral part of the object and often adds
monetary value as well as historical context.
Natural wear is often very subtle in its effect
on the overall appearance and can be difficult
to simulate, a fact borne out by the large
amounts of aptly named ‘distressed’ reproduction
furniture.
13.1.2 Revivers
The use of revivers remains widespread in
furniture restoration practice and texts and
therefore deserves a brief comment here.
‘Reviver’ is a general term for a mixture of
materials used to clean, resaturate surface
colour and produce a soft sheen to the surface
of everyday articles of furniture. Commercial
revivers are available and contain a variety of
ingredients – one popular British example
contains xylene and methanol. A recipe
mentioned by Mrs Beeton in the midnineteenth
century, which remains in use in
the restoration trade, recommended equal
parts methylated spirits, turpentine, vinegar
and linseed oil. The methylated spirits was
intended to remove degraded varnish, the
turpentine to remove greasy dirt, the vinegar
to remove water-sensitive dirt whilst the
linseed oil provided colour saturation and a
low sheen to the ‘revived’ piece. Other recipes
have added soap, metal polish or ammonia to
the mixture. It is a basic tenet of conservation
cleaning that the treatment should be as
specific as possible. Traditional revivers are
potentially very damaging and cannot be