Series editors' preface - Wood Tools

770 Conservation of Furniture
A better long-term option would be to remove
UV from the ambient environment.
Wax has been applied to lacquer surfaces
both as a protective coating and to increase the
lustre of a degraded surface. Wax coatings can
be a comparatively effective moisture barrier
(Brewer, 1991). Wax coatings can, however,
also exacerbate accretions of dirt, create a
cloudy appearance and may be problematic to
remove (Webb, 1995).
A resin-type coating may be a compromise
decision if the appearance of the surface is not
acceptable and a suitable surface cannot be
recovered. In some cases a coating may unify
a surface decorated with both japanning and
Oriental lacquer. The application of very thin
layers is easier with a spray gun than a brush.
Coating materials and photochemical stabilizers
are discussed in section 12.4. Stabilized hydrogenated
hydrocarbon resins represent a more
ethical option than the use of traditional natural
resins.
16.9 Gilded furniture
16.9.1 Introduction to conservation of
gilded surfaces
The conservation of gilded surfaces is a comparatively
young discipline that requires familiarity
and experience with both traditional and
modern materials and techniques. It is essential
that the conservator keeps abreast with current
conservation literature and ongoing developments
in the field. The use of synthetic materials
and conservation techniques has been
accompanied by a great deal of debate and
decisions should be made on a case by case
basis, with a clear understanding of the aims
and principles of treatment, and the needs of
the object in mind. Thompson (1956, 1962)
and Cennini (trans. Thompson, 1954) discuss
historical recipes and gesso formulation.
Historical gilding techniques, research and case
histories that utilize both traditional and modern
materials are discussed in Bigelow et al.
(1991) and Budden (1991). Considine (1989)
considered the ethical implications of the treatment
of gilded objects. Case histories of gilding
conservation such as Cession (1990),
Hanlon (1992) and Thorn (1987) may be found
in conference papers and conservation period-
icals. Binnington (1991) has discussed verre
eglomisé (gilding on glass) and Richardson
(1991) has considered materials and techniques
relating to pressbrokaat decoration.
As with other decorative surfaces, the conservation
of gilded surfaces does not lend itself
to a dogmatic or categorical approach. The
conservator must be prepared to recognize and
deal with a wide variety of complex surfaces
and binding media and to identify treatment
objectives on a case by case basis. Treatment
objectives should be informed by accurate surface
characterization when possible, for example
microscopic analysis.
It is helpful to understand the types of gilding,
surface coatings and underlying layers that
are present on an object. A gilding conservator
should have a good knowledge of historical
methods and materials, such as how gesso
would have been recut, the appropriate bole
colour for a given period, when two tones of
leaf were commonly used or when a surface
coating might be an original glaze. Technical
examination and analysis of stylistic and historical
information is essential in formulating a
balanced conservation treatment. The treatment
should take into account knowledge of
historical materials and methods, as well as the
evidence presented by the object itself.
Every conservation treatment of a decorative
surface involves weighing the documentary
value of an existing surface against the aesthetics
of a chosen interpretation. It is important
to establish ethical criteria for making these
decisions that will have validity for most cases
so that treatments are based on broadly
applied principles rather than expedience.
Some of these principle are widely held
throughout conservation and are discussed in
Chapter 9. Other considerations specific to
gilding conservation can include the preservation
of original preparative layers even when
regilding is indicated, recognition of the nature
and extent of aesthetic intervention, a commitment
to leave a physical document of altered
surfaces on any object, and to differentiate
between old or original surfaces and current
treatment (especially where original gilding is
involved).
One of the most rewarding challenges for a
gilding conservator is treating original gilding.
In such cases the desire for preservation and
historical integrity are often the most important