Note: If you have started here, you might want to begin at the first blog and work your way through the interim report on the desk.
I now saw changes that I needed to make, and set to it. The biggest was the central floral motif on both side panels. I was originally guided strictly by the residue paints and ghosting, but now I reconsidered what I knew about the artist’s stylized floral patterns, and made changes.
This, above, became the more lovely flower below. I am certain this is the type of flower that was the central theme, though the layering of colors was hard to read as the top colors would not have embedded into the wood strata.
Also, you can see the differences between the two sides, above and below. The artist had a guide, but free-handed her painting, so there are subtle differences and some not-so-subtle differences. I was tempted to make the center flower on the right-facing side match, but the residue paint showed a four-petal flower.
Last touches, like the center crescent moon, were added.
The Straw Ivory infill was performed on both sides over the original Straw Ivory.
New wooden knobs were purchased; the old ones were thrown away long ago. In this particular desk, iron hardware was not used; we came as close as possible to the old wooden knobs. They received a coat of orange paint, chosen due to Kay’s memory of the color of the knobs:
And the original hardware was painted:
Mitchell’s restored desk top took some tricks to make it look like the older worn tops:
The desk was ready for the layering of the top coats, shown in Mason Monterey Desk Restoration #6: Smokey Maple “Antiquing”.