Series editors' preface - Wood Tools

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the addition of a separate thixotrope, or, more commonly in conservation, the surface of bare wood can be pre-sealed. It may be possible to manipulate gloss as a surface coating cures by removing a small amount of the upper layer of a coating or disturbing the surface when it has not completely cured by lightly padding it with a finger to create a textured surface. Misting on a top layer of resin from a spray gun may reduce surface gloss, as will increasing the distance from the object when spraying on a coating. A combination of these gloss modification techniques can be used in to create an appearance consistent with the age and appearance of the object. Many historical sources refer to the use of powdered abrasives to polish or dull a varnished surface. Powdered abrasives vary in hardness, size and colour. Harder abrasive particles will remove more of the surface with each comparable motion, but particle size will determine whether the scratches produced will be visible. Thus aluminium oxide (Mohs hardness 9) will remove more material than jeweller’s rouge (iron oxide, Mohs hardness 5.5–6) but if the particle sizes are the same, the surface appearance will be similar. The abrasive effect of particles on a surface is ameliorated by the presence of a lubricant, such as solvent or a small amount of wax. Precautions must be taken to avoid inhaling abrasive powders or abraded dust. Pumice, rottenstone, tripoli and crocus powders, precipitated chalk and diatomaceous earth are traditional abrasive powders (see Table 10.3). Pumice comes in several grades but even the finest is often too coarse for transparent surfaces. Rottenstone has been used by finishers for centuries as a way to bring a gloss to a surface (Byington manuscript, c.1780). Modern materials include aluminium oxide, which can be purchased according to particle size, from 0.05 to 5 μm. Transparent Plexiglass or Perspex may be used to carry out an empirical evaluation of the degree of scratching produced by different materials. Differences may be more easily visible under UV or raking light than under diffuse natural light. Matte black paper underneath the plastic may also be helpful. It may be difficult to fully remove powdered abrasive from a surface that has fissures in the coating though a small amount of pigment or Conserving transparent coatings on wood 639 dye may be added to make such residues less obtrusive. This problem is less evident with abrasive papers since the abrasive is bound to the backing. 13.10 Distressing Distressing describes the simulation of wear, minor damage, stains and accumulated dirt on a new surface, so that it resembles an aged surface. Many texts on furniture restoration describe methods of distressing repairs in order to simulate age and wear. These can include beating the new wood with bicycle chains, rocks, keys, barbed wire etc., though the effects are often a very poor imitation of the original. Examples of poor distressing include simulating wear evenly on all four arrises of a chair stretcher rather than concentrated on the upper front edge, or the repetitive denting of a surface with the same mark (e.g. a hammer). If distressing is to be undertaken, an old surface should be examined carefully and the type of wear or damage a surface or component would be likely to receive considered. Sharp or sanded edges to dents are rarely appropriate. Surface damage usually occurs long after polishing with the result that dirt is trapped above the surface finish, rather than below it. Age and accumulated grime may be simulated using a thick solution of Vandyke stain (see, for example, Bennett, 1990). Inert powders such as rottenstone or dry earth pigments may be dusted into recessed areas. Some earth pigments present a health hazard (e.g. raw umber) and the supplier’s or manufacturer’s material safety data sheet should be consulted (McCann, 1979). A resin binder, preferably with different solubility parameters from the surface coating, may be used to selectively apply particulate material. The success of a matching a repair often depends on the finesse of adding and subtracting from the upper surface until the right visual qualities are achieved. Bibliography Abercauph, C. (1998) Wax as a surface coating, in W. Samet (compiler), Painting Conservation Catalogue:
640 Conservation of Furniture Varnish and Surface Coatings, AIC Paintings Specialty Group Barclay, R. and Mathias, C. (1989) An epoxy microballoon mixture for gap filling in wooden objects, JAIC, 28, 31–42 Barnes, C. (1938) Chemical nature of shellac, Industrial and Engineering Chemistry, 30 (4), 449–51 Baron, B. (1987) The Techniques of Traditional Woodfinishing, Batsford Baumeister, M., Boonstra, J., Blanchette, R.A., Fischer, C- H. and Schorsch, D. (1997) Stained burl veneer on historic furniture, in K. Walch and J. Koller (eds), Baroque and Rococo Lacquers, Arbeitshefte des Bayerischen Landesamtes für Denkmalpflege Bennett, M. (1990) Discovering and Restoring Antique Furniture, Cassell Bentley, J. and Turner, G.P.A. (1998) Introduction to Paint Chemistry, Chapman and Hall Berrie, B.H. and Lomax, S.Q. (1996/1997) Azo pigments: their history, synthesis, properties and uses in artist’s materials, in Studies in the History of Art, No. 57, Monograph Series, Conservation Research, National Gallery of Art, Washington Brachert, T. (1978–9) Furniture varnishes, surfaces of furniture, Maltechnik Restauro, I-V Deller, C. (2000) Some ideas for a better coating, Conservation News, 72, 28–9 Dodwell, C.R. (1961) Theophilus: The Various Arts, Thomas Nelson and Sons Erhardt, D. (1998) Paints based on drying-oil media, in V. Dorge and F.C. Howlett (eds), Painted Wood: History and Conservation, Getty Conservation Institute, pp. 17–32 Fairbairn, G. (1988) Creating the right impression, in AIC Wooden Artifacts Group, Conference Papers, Vancouver Feller, R.L., Stolow, N. and Jones, E. (1985) On Picture Varnishes and Their Solvents, National Gallery of Art, Washington, DC Fiedler, I. and Walch, K. (1997) The varying fluorescence of veneer glues, in K. Walch and J. Koller (eds), Baroque and Rococo Lacquers, Arbeitshefte des Bayerischen Landesamtes für Denkmalpflege, pp. 297–304 Flexner, B. (1994) Understanding Wood Finishing, Rodale Press Frank, G. (1981) Adventures in Wood Finishing, Taunton Press Frank, G. (1986) French polishing, Fine Woodworking, 58, May German, L. (1989) The physical effects of oxalic acid on wood, in AIC Wooden Artifacts Group, Conference Papers, Cincinnati Gettens, R.J. and Stout G.L. (1966) Painting Materials: an Encyclopaedia, Dover Grattan, D.W. and Barclay, R. (1988) A study of gap-fillers for wooden objects, Studies in Conservation, 33(2), 71–86 Hamburg, H.R. and Morgans, W.M. (1979) Hess’s Paint Film Defects, Chapman and Hall Hawthorne, J.G. and Smith, C.S. (1963) On Divers Arts: The Treatise of Theophilus, University of Chicago Press Hayward, C. (1988) Staining and Polishing, Evans Bros, London/Unwin Hyman Horie, V. (1992) Materials for Conservation, Butterworth- Heinemann Jägers, E. and Jägers, E. (1999) Volatile binding media – useful tools for conservation, in Reversibility – Does It Exist? British Museum Occasional Paper No. 135 Keijzer, M. (1988) The blue, violet and green modern synthetic organic pigments of the twentieth century used as artist’s pigments, in Modern Organic Materials Meeting, Conference Preprints, SSCR Koller, J., Baumer, U., Schmid, A. and Grosser, D. (1997) Sandarac, in K. Walch and J. Koller (eds), Baroque and Rococo Lacquers, Arbeitshefte des Bayerischen Landesamtes für Denkmalpflege, pp. 379–94 Koller, J., Schmid, A. and Baumer, U. (1997) Baroque and rococo transparent varnishes on wood surfaces, in K. Walch and J. Koller (eds), Baroque and Rococo Lacquers, Arbeitshefte des Bayerischen Landesamtes für Denkmalpflege, pp. 161–96 Landrey, G.J. (1984) The Finish Crack’d: conservator’s fix for a fractured film, Fine Woodworking 49, November, 74–6 Landrey, G.J. (1993) The conservator as curator, in L. Beckerdite (ed.), American Furniture, Chipstone Foundation Landrey, G., Reinhold, N. and Wolbers, R. (1988) Surface treatment of a Philadelphia pillar and claw snap-top table, in AIC Wooden Artifacts Group, Conference Papers, Louisiana Lee, W.H. (1967) Nitric acid, in J.J. Lagowski (ed.), The Chemistry of Non-Aqueous Solvents, Academic Press McCann, M. (1979) Artist Beware, Watson-Guptill Publications Mills, J. and White, R. (1977) Natural resins of art and archaeology: their sources, chemistry and identification, Studies in Conservation, 22(1), 12–31 Mills, J. and White, R. (1994) The Organic Chemistry of Museum Objects, Butterworths Mussey, R. (1980) Transparent furniture finishes in New England – 1700–1820, in Proceedings of the Furniture and Wooden Objects Symposium, CCI Mussey, R. (1982a) Old finishes – what put the shine on furniture’s Golden Age, Fine Woodworking, 33, March/April, 71–74 Mussey, R. (1982b) Early varnishes: the 18th century’s search for the perfect film finish, Fine Woodworking, 35, July/August, 54–8 Mussey, R. (ed.) (1987) The First American Furniture Finisher’s Manual, Reprint of the 1827 edition of The Cabinet-Maker’s Guide, Dover New, S. (1981) The use of stain by furniture makers 1660–1850, The Journal of the Furniture History Society 17, 51–60 Oughton, F. (1982) The Complete Manual of Wood Finishing, Stobart & Son Penn, T.Z. (1966) Decorative and protective finishes, 1750–1850: materials, process and craft. Masters thesis, University of Delaware Piena, H. (2001) Regalrez in furniture conservation, JAIC, 40, 59–69 Plenderleith, H.J. and Werner, A.E.A. (1971) The Conservation of Antiquities and Works of Art, Oxford University Press Radley, J.A. and Grant, J. (1954) Fluorescence Analysis in Ultraviolet Light, Chapman and Hall Rodd, J. (1976) Repairing and Restoring Antique Furniture, David & Charles
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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
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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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Page 634 and 635: Figure 12.13 Diagrammatic represent
Page 636 and 637: (a) (b) ‘touch-up’ guns may be
Page 638 and 639: appearance of paintings, Studies in
Page 640 and 641: American Chemical Society, Washingt
Page 642 and 643: often rely on self-levelling spray
Page 644 and 645: ecoming progressively harder and da
Page 646 and 647: Identifying a historical progressio
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Page 650 and 651: Figure 13.4 Parafilm ® is a thin w
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Page 654 and 655: e used cautiously and with suitable
Page 656 and 657: (a) (b) (c) Figure 13.6 The use of
Page 658 and 659: Figure 13.7 Proprietary shellac sti
Page 660 and 661: Thus conservation grade materials m
Page 662 and 663: ing the colour. This may be useful
Page 664 and 665: materials is their photochemical st
Page 666 and 667: (a) (b) Figure 13.11 Use of oils (a
Page 668 and 669: French polishing French polishing d
Page 670 and 671: during a polishing session. If the
Page 672 and 673: applying fresh polish before pullin
Page 676 and 677: Roelop, W. (1994) Coloured mordants
Page 678 and 679: eflective shine, whilst oil gilding
Page 680 and 681: is used for laying gold and silver
Page 682 and 683: wood be dry, free of grime, oil and
Page 684 and 685: necessary to use a size coat as str
Page 686 and 687: however, makes it more difficult to
Page 688 and 689: flutes or other details in the carv
Page 690 and 691: 14.2.12 Yellow ochre A coat of size
Page 692 and 693: applied only to highlight areas (Fi
Page 694 and 695: Figure 14.12 Manipulating the gold
Page 696 and 697: 14.2.17 Double gilding Water gildin
Page 698 and 699: ground would be prepared uniformly
Page 700 and 701: areas, however deep, that have been
Page 702 and 703: 15 Conserving other materials I Thi
Page 704 and 705: Consolidation Powdering or flaking
Page 706 and 707: synthetic materials, such as Paralo
Page 708 and 709: shell or horn itself may be dyed wi
Page 710 and 711: oration and brittleness. The cellul
Page 712 and 713: to reverse if necessary. Gelatin ma
Page 714 and 715: emoval. Dusting or wiping over the
Page 716 and 717: Figure 15.4 Reverse side of a music
Page 718 and 719: of electrolytes (e.g. after removin
Page 720 and 721: gases, vapours, liquids and ions. T
Page 722 and 723: when the object is handled. Researc
Page 724 and 725:
and graphite. They were commonly us
Page 726 and 727:
(a) (c) so if the treatment is to a
Page 728 and 729:
into consideration the importance a
Page 730 and 731:
Alkaline glycerol solution will rem
Page 732 and 733:
Figure 15.11 A gold snuff box, c.18
Page 734 and 735:
(1990) and CCI notes 9/7 (1993). Th
Page 736 and 737:
into the workplace. The type of exp
Page 738 and 739:
(a) (b) Figure 15.14 Use of pressur
Page 740 and 741:
ensure that any water residues are
Page 742 and 743:
The materials used in the decoratio
Page 744 and 745:
solvent creeping behind or undernea
Page 746 and 747:
Snow, C.E. and Weisser, T.D. (1984)
Page 748 and 749:
Koob, S.P. (1986) The use of Paralo
Page 750 and 751:
coatings that may have been applied
Page 752 and 753:
acrylic paint may be used if it is
Page 754 and 755:
16.2 Plastics 16.2.1 Introduction t
Page 756 and 757:
PVAC, Paraloid B72, ethylene vinyl
Page 758 and 759:
dyed by contract. Although this may
Page 760 and 761:
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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