Series editors' preface - Wood Tools

630 Conservation of Furniture
Products that include xylene and toluene will
have wider solubility parameters and therefore
are able to clean dirt and grime from a surface
during the waxing process. They are, however,
more harmful and their use presents an
increased health and safety risk.
There are two distinct application methods
for wax pastes. The first is used for wax pastes
that contain a high proportion of beeswax or
similar low melting point constituents. A lump
of wax paste may be placed in the centre of
a fine cotton or other natural fibre cloth, the
corners folded in and a twist formed above
the lump. The twist is tightened so that wax
begins to squeeze through the cloth, which is
then rubbed over the surface, applying a very
thin and even wax coating. The wax should
be left for a short while to allow most of the
solvent to evaporate before a fresh clean soft
cloth is rubbed vigorously over the surface,
removing excess wax and producing a soft
even sheen. If the wax is buffed whilst there
is still a large amount of solvent present it will
simply be removed from the surface.
The second technique is used for wax
pastes that contain a high proportion of
carnauba wax or microcrystalline waxes with
a high melting point. In this case, the wax
paste is applied as above, but buffed immediately.
If the solvent is allowed to evaporate,
application marks and excess wax may be
difficult to remove and it may be difficult to
buff the surface to an even sheen.
Dipping the cloth directly into the wax and
applying it to the surface usually results in a
much thicker and uneven layer that requires
more buffing to remove the excess. A light
coating of wax may be applied by diluting the
wax in solvent and spraying it on using an
airbrush or spray gun. This allows the application
of a uniform, non-streaky wax film that
requires minimal buffing.
Wax pastes may be applied to moulding or
carvings using a brush. A paint brush may be
used for this purpose once the bristles have
been cut to 18–25 mm ( 3 ⁄4 to 1 inch) to stiffen
them. The polish is usually applied with the
brush and excess removed with a soft cloth.
A light rub down may be followed by more
vigorous buffing when all the solvent has
evaporated. A shoe brush may be necessary
for carved or other intricate work. Some
manufacturers produce brushes with a slight
curve to help prevent inadvertent damage to
an object when a wax paste is being buffed
in this way.
An alternative application method uses
techniques derived from French polishing,
described below, to create a full grain wax
finish on bare wood or that which has only a
thin coat of sealer. Apply a heavy coat of wax
paste to the surface with a brush and allow
the solvent to evaporate. The wax paste may
be fortified with up to 25–30% carnauba wax.
Using a French polishing rubber slightly
dampened with turpentine, body up the
surface, working in small circles and figuresof-eight
to force wax into the grain. More wax
may be applied to fill the grain if necessary,
and the bodying up process repeated. A small
amount of pumice powder may also be used
at this stage. When the surface is smooth,
switch to a rubber dampened with methylated
spirits to give a smear-free shine. The effect
can be almost as glossy as a shellac finish.
Bennett (1990) describes a similar technique.
It may be more difficult to produce a soft
even sheen with microcrystalline wax.
Microcrystalline waxes are prepared to
produce a variety of working properties. They
can be harder and tougher than natural waxes,
and are less acidic. Unpigmented wax lodged
in recesses or mouldings is unsightly.
Microcrystalline wax may prove more difficult
to redissolve than beeswax. Furniture in
domestic use does not generally require
waxing more than once a year and that in
museum collections requires waxing even less
frequently.
Oils
Though unpigmented linseed oil films are not
particularly durable, oil polishes based on
linseed oil have been used on furniture for
centuries and were still recommended until
quite recently (Plenderleith and Werner, 1971;
Sheraton, 1803). Drying oils such as linseed,
poppy seed and walnut oils, could be applied
directly to the surface in thin layers over a
period of several weeks or months. They
could be combined with a grain-filling
pigment, for example brick dust on mahogany.
Linseed oil wets efficiently onto most
surfaces and enhances appearance through
increased saturation. Antique dealers often
apply a thin linseed oil coating to furniture in