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Series editors' preface - Wood Tools

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764 Conservation of Furniture<br />

Dry cleaning materials such as a smoke<br />

sponge or Draft Clean granules, described in<br />

section 11.2.4, may be used to remove dust<br />

from lacquer. Care must be taken not to scratch<br />

the surface of the lacquer and a lubricating solvent<br />

(white or mineral spirits) may be useful.<br />

Not all dry cleaning materials are appropriate;<br />

for example erasers are too harsh for many<br />

lacquer surfaces.<br />

Due to the polar nature of aged lacquer surfaces,<br />

water is often very effective for removing<br />

surface dirt. There is a danger, however, of<br />

solubilizing and removing lacquer degradation<br />

products. The safety of cleaning lacquer with<br />

water is in part dependent on condition of lacquer<br />

surface (e.g. the history of exposure to<br />

UV, previous treatments) and partly dependent<br />

on the skill and experience of the conservator.<br />

Water will remove surface dirt, which will<br />

often have a black appearance on a swab.<br />

Continued swabbing of a degraded surface<br />

with water will begin to solubilize degradation<br />

products, which are light brown in colour. As<br />

a general rule, if the surface is glossy and lustrous<br />

water is less likely to cause damage.<br />

Water should be avoided for cleaning surfaces<br />

that are dull and degraded. If water is used to<br />

remove dirt, a slightly dampened swab may be<br />

applied to a small area that is immediately<br />

dried with clean fresh cotton wool. Using a<br />

swab that is too wet, or leaving the moisture in<br />

contact with the surface for too long can result<br />

in unsightly water marks and tidelining.<br />

The use of water is much favoured by<br />

Japanese conservators. One method involves<br />

two soft cotton cloths (e.g. cut from an old<br />

white T-shirt). The first piece of cloth is dipped<br />

in water and then wrung out to remove excess<br />

liquid. The second (dry) cloth is then rolled in<br />

the first and the two squeezed together. The<br />

second cloth, now slightly dampened, is<br />

wrapped around a fingertip and, with a circular<br />

motion, used to gently wipe a small area (a<br />

square inch or so) of the urushi surface.<br />

Although this sounds a simple procedure, the<br />

wrong amount of moisture, the wrong cloth, or<br />

this technique applied inappropriately to a sensitive<br />

surface, can all cause damage (Murose,<br />

1996).<br />

Cleaning decorative elements<br />

The effect of a cleaning treatment on decorative<br />

elements within a lacquer surface may dif-<br />

fer from the effects observed on the background<br />

element of the design. Makie (sprinkled<br />

metal powder) decoration may be poorly<br />

adhered and is very vulnerable to the cumulative<br />

abrasive effects of cleaning treatments.<br />

Cleaning makie decoration involves a judgement<br />

about the original intent of the maker, as<br />

‘discoloration’ may be a result of deliberate<br />

patination rather than ageing and corrosion.<br />

Tarnish on silver makie, for example, was<br />

often an intended patina. Such deliberate patination<br />

should not be removed. If the original<br />

intent is unknown or unclear, treatment should<br />

be limited to the removal of surface dirt.<br />

Kirikane (cut metal) and other types of metal<br />

foil decoration are particularly vulnerable to<br />

damage during cleaning as they may be loose.<br />

Before cleaning commences, metal foil decoration<br />

should be carefully examined, under a low<br />

magnification bench microscope if necessary,<br />

to ensure that it is well adhered. If not, it<br />

should be consolidated before being cleaned.<br />

Water is very effective for cleaning motherof-pearl,<br />

which is often fragile and brittle. It is<br />

important to avoid over-cleaning or excess<br />

pressure that will change the appearance of<br />

the shell and the overall aesthetic balance of<br />

the object. Shell may have been adhered with<br />

a water-soluble adhesive such as animal glue<br />

and a slightly dampened swab will limit the<br />

potential for water to penetrate under the<br />

shell. Delicate surfaces, such as aogai<br />

(blue–green) shell inlay, may be cleaned<br />

through paper. A thin flexible paper can be<br />

laid over the surface, solvent applied and a<br />

soft brush pounced on the surface. Dirt will<br />

become attached to the paper whilst the surface<br />

is protected from excessive mechanical<br />

action. Different papers will absorb slightly<br />

different materials, so some experimentation<br />

may be called for.<br />

Removing unwanted coatings<br />

Wax has often been applied to Oriental lacquer.<br />

Excess wax will result in a cloudy or<br />

smeared surface and a halo of wax may build<br />

up around raised decorative elements (Figure<br />

16.23). Wax may be removed with aliphatic or<br />

aromatic hydrocarbon solvents, though some<br />

additional mechanical action with cotton wool<br />

or a dry cleaning material may also be necessary.<br />

Chloroform may be an effective solvent in<br />

particularly refractory cases.

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