You are correct. "Refinishing" is far beyond "restoration," though the
contrary Swingman will start an argument with the image in his mirror.
Restoration is normally a minimally invasive process, and the degree of
restoration of a museum piece to be admired behind a rope is less than one
which will carry a load.
Hmm, Isn't a three-hundred-year-old chair that was last refinished
two hundred years ago, and is still in good shape, worth more than
a three-hundred-year-old chair that was last refinished last week and
is also in good shape?
ISTM that each time it is refinished the 'value timer' is reset.
OTOH if that three-hundred-year-old chair was never refinished and
is now totally BTF with none of the original finish left, does
it hurt the value at all?
Antique value is in the eye of the beholder. Utility depends on whether you
can park your butt on the chair without it breaking.
It's worth whatever the fool who wants it as something beside a chair ( or
table or dresser...) is willing to pay for it.
On Wed, 10 Jan 2007 19:03:30 -0500, Bill Waller wrote:
As a matter of preserving the value use hide.
Otherwise I'd try G2 epoxy--it should stick to just about anything, is gap
filling, and has enough flexibility that it shouldn't cause further
loosening of the joint due to repeated expansion cycles. Note though that
if you use epoxy you are _not_ going to get that piece apart again
without breaking something, so be _very_ sure you want to use it.
Epoxy with a microballoon filler is regarded as acceptably reversible
in museum conservation circles. It's obviously not as easily reversed
as hide, but as far as a strong gap filler goes, it's as good as you're
going to get.
This situation should almost certainly use hide. If there are gaps,
then shim the tenons and still use hide.
Some conservators reckon that the filled epoxy is suficiently
non-adhesive on its own, others apply a barrier coat of Acryloid B-72
I'm sorry about the rest of the day you've now lost to reading
back-issues of JAIC 8-)
I wish they had up to date ones on that site too.
Hmm--reading that they say that they're going for shrinkage of the wood
resulting in failure of the filler, not the wood. For what they do that
may be desirable, but Hoadley suggests, based on his own tests, that
for maximum longevity what one really should be going for is a filler with
enough elasticity to accomodate shrinkage of the wood without either
failing. Hoadley used RTV in his tests--that stuff in my exeperience isn't
all that strong and I do wonder if using the same test as they used it
could also be separated without damaging the wood (beyond leaving it
coated with cured silicone, which in itself is a problem).
Remember that they're museum conservators, not furniture restorers.
They're trying to make an exhibit fit for visual display, not make a
chair fit to sit on again. They care about reversibility as #1 and
looks as #2, but mechanical strength is far behind.
OTOH, I use phenolic microballoons in West System epoxy a lot as my
standard filler for "Nakashima like" work. Maybe not chairs, but I've
got tabletops that are held together by nothing else and I haven't had
> Some conservators reckon that the filled epoxy is suficiently
> non-adhesive on its own, others apply a barrier coat of Acryloid B-72
I usually wet out the surfaces with epoxy then coat with epoxy putty
to obtain max strength.
Guess you don't want me getting close to antique furniture<G>.
Exactly! The assumption is that filling the epoxy with microballoons
is enouigh to reduce adhesion, compared to applying pure resin.
Personally I don't trust this and I use the B-72 as a barrier.
Sometimes shellac instead, depending on what I'm working on.
Mind you, I don't follw that bizarre US conservation practice of
regarding micro wax as an adhesive.
A while ago I restored a 16th century oak cabinet, the sort with split
turnings and panels of appliqued beading all around the drawer edges.
It was the usual repair, sections of beading had been lost over the
years. My task was to mould new beading to match, colour it to match
and then attach it. As authenticity was fairly significant I'd ended up
with fixing it, known for being a router- and stain-hating hippie who'd
do it with wooden moulders and ammonia. I then attached the new
mouldings with hide glue.
US practice for the same common repair on a piece like this (Omigod
it's like _older_than_starbucks_! It's older than the Declaration of
Independence!!! WTF!!! L33T!!!) seems to be using microcrystalline wax
(Renaissance) as an adhesive. Now I know conservators use this for
_everything_ including holding their dentures in place, but I really
can't see this as an appropriate _repair_ to a piece when hide glue is
such an ideal alternative.
I see a lot of people posting about how Gorilla Glue will "expand to fill
It sure does, but the expanded glue has almost no strength. It isn't a gap
Sorry Bill, you were the one who posted the comment when I felt a bit testy.
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