CARE & RESTORATION OF TIMBER FURNITURE - prt1
During the 18th and early 19th century nearly all antique
furniture was made to order, and consequently great care was taken in the
selection of timbers and veneers as well as the quality of workmanship of the
cabinet-maker, carver and gilder. It is testament to the excellence of all
those involved that so many pieces have survived the test of time and have been
either inherited or bought by successive generations. The following suggestions
should enable current owners to preserve, and even improve, the appearance of
such pieces for the next generation. One of the most important aspects to
furniture is that of patination. Patination is the name given to the build-up
of wax, grease and dust that, when combined over a period of many years, gives
the timber a 'skin' and can be described as the furniture's history in its
surface and is therefore very desirable. Waxing To keep and improve patination,
furniture should be waxed with a natural wax-based polish product (never a
silicon-based one) no more than once a month. More frequent waxing is actually
counter-productive as wax will soften previous layers and, if frequently
applied, the furniture will take on a smeared appearance. The best technique is
to apply a thin layer of wax, allow it to stand for a short while and then
burnish with a soft, clean cloth. Always rub in the direction of the grain and,
if leaning over a dining table or other large piece of furniture, pay attention
to belt buckles, rings or buttons which may scratch the surface. A mixture of
vinegar and water should never be used to clean the surface as the vinegar acts
as a solvent and can remove generations of patination in a matter of minutes.
It is essential to place mats on the furniture before putting hot or cold
dishes on to polished surfaces, and cold water in a flower vase can reduce the
temperature of the polish and produce a white 'chill' mark. As with any surface
damage, such a mark needs the specialist's hand. A French polished surface is
made up of many layers of shellac polish which has been applied with a 'rubber'
— a linen cloth enclosing a wadding material inside. The 'rubber' is coated
with shellac polish which is applied with the aid. of linseed. An area no
bigger than a finger-nail is actually in contact with the surface, and thus numerous
thin coats are built up over a period of time that enhance the grain and colour
of the timber. When water damage or the like occurs, if the polish and not the
timber has been affected, a skilled polisher can remove one layer of polish at
a time until he reaches the undamaged surface. He will then carefully reapply
polish to the localised area, binding
it to the original untouched areas, thus eradicating the
water mark etc. Such a technique takes many years of training and application,
and should never be attempted by a novice as inexperience could result in a
dark area which actually looks worse than the original water mark. The cleaning
of brasses is very much a case of personal taste. Some people like brass
handles to develop a bronzed patination and therefore will never clean them,
whilst others will clean handles until they shine like soldiers' buttons. I
prefer the middle ground. with only the highlights being cleaned, and leaving a
natural build-up of wax around the backplates and knobs. Should traces of
original lacquer or fire gilding be in evidence use just a damp cloth to
lightly wipe them when required. A wadding cleaner is best used when cleaning
handles as a liquid spillage on a patinated surface will once again remove all
traces of patination. Gilding Great care must be taken with gilt furniture and
mirrors. Their are two types of gilding, water and oil. Water appears more
yellow in tone than the deeper orange gold of oil gilt. Most English 18th and
19th century furniture was water gilded. Layers of gesso (plaster) were applied
to the carved wooden base and then 'recut' to redefine the carved decoration. A
liquid clay base, or bole, was then applied and gold leaf laid upon it. The
final tone was achieved by burnishing the gold leaf. With oil gilding, the
gesso was applied with an oil size to which the gold leaf then stuck. Oil
gilding was not frequently used on English furniture.
A Regency gilt overmantel mirror, which had been attacked by
damp, in the process of being restored. It is not a good idea to try and clean
gilt as if water is applied to it the gold will wash off and expose the
coloured bole beneath. Seek specialist advice from a qualified gilder and
liaise closely with him or her to agree the finish, as this can differ from workshop
to workshop. Ask to see various examples of work and decide how bright you wish
your restored piece to be.
AN EXAMPLE OF GOLD GILDING
Recently we were asked to restore an old Italian 3-seater. Gold gilding was applied to the frame before being upholstered.
This photo is what inspired our customer
The following are a few before and after photo's of our customer's 3-seater.
The black and white striped fabric used was from Warwick Fabrics called Welland Ebony.
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