Mason Monterey Club Chair, 3 Buildup

This continues several posts on the preservation of a lovely
Old Wood Mason Monterey Club chair from our client’s family.
To see the excavation, go here.
To view the finish notes, go here.

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We begin the buildup by installing new webbing and springs
to create the Spring Deck
after the finish is fully cured and scuffed to the proper patina.

The spring tie is completed, above.

Mitchell discusses the challenges in the way
the springs were originally laid out
on the small spring deck, and how to work
around the corner blocks, above and below.

Details of the spring ties, below.

Mitchell discusses the finished spring deck, above.

The spring desk is covered with the burlap topper;
the springs are secured to the topper.

Mitchell repaired the original edgeroll, and covered it in
fresh burlap before stitching to the deck, above:
details of decisions about the way the edgeroll interacted with the frame
were partly made by the original upholsterers.


The completed Spring Deck, above.

The back buildup and upholstery occur after the seat deck upholstery.

It is always wonderful to find the original tags to verify the origination of the piece.
It was made by the Mason Mfg. Co. of Los Angeles, California
finished March 1 1935… Style #8/83, Serial #2390…
the cover was #603B, and they said it was 80% cotton (50/50)
and 20% a sisal fiber pad…
They do not mention the hair, of which there was plenty!
Of course we also know it had Spring-filled cushions
but perhaps these were not important for import/export/shipping.
These will be preserved in the envelope crated under the seat.

Next post, we will talk about the back buildup 
and upholstery of the frame.

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Mason Monterey Club Chair, 2 Finish

This continues several posts on the preservation of a lovely
Old Wood Mason Monterey Club chair from our client’s family.
To see the excavation, go here.

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The original Old Wood finish is deteriorated.

If the finish were in good condition and simply distressed,
we would not have tried to preserve it with a topcoat but left it as is;
however, it was crackled (which we  like) and flaking large pieces
around the arm tops and front legs.  It would continue to do so in a
more exacerbated fashion now that it is going to be used again.
We added a slightly pigmented top coat to seal and preserve the original finish.

We cleaned the original finish using a mild soap and water.

The entire finish is
gently scuffed to loosen
bits of oil paint that are already lifted and to
provide a slightly rough texture over which to paint.

We have test boards
from earlier projects, and paint to match is created
from our formulas.
We want a thin glaze to
just seal and protect the original deteriorating finish.


I prefer a larger fine arts brush, in this case 1-inch.  I can access cracks without drips
and in the long run it moves faster than clean up from a big brush.

The inappropriately placed decorative nails and the overreaching second generation upholstery left tattered holes where some previously ripped out, and clean holes
from our excavation of tacks and decorative nails, all needing to be filled.
We used a bit of thick paint to fill on top of the topcoat.

Above, the topcoat in comparison to the original deteriorating finish
before it was fully cured to be scuffed (so slightly shinier than we want it!)

10 days allowed the
oil paint to cure before
we could slightly
dull the finish.

After curing, the entire
chair was scuffed to match
the original patina. This had the added benefit of allowing us to test the adhesion
of the topcoat in holding
original finish in place.

Along the side splats the original finish was quite
shiny, and so we left it as it was in the before images.

Next post, we will talk about
the buildup on the frame.

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Mason Monterey Club Chair, 1 Excavation


This begins several pages on the preservation of a lovely
Old Wood Mason Monterey Club chair that has been in our client’s family.

It has been reupholstered once with elk hides, but the original cushions are intact.
As we uncover the frame, we found the history of the fabrics and covering intact.

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Our chair shown 360-degrees, above.

When we start excavation
we also formally assess
the chair again as we are removing the upholstery, stuffings and buildup.
For instance, there was tacking outside the
upholstery margin, above;
we do not know why.

Webbing and springs
were missing from the seat deck, shown right.
Mitchell removed the outside back fabric, below, and
began the excavation with
the front of the back frame.

As we excavate the back frame, we find both original and newer additions,
and Mitchell can tell which is which.  In the fifth image and below right you see a lumbar support, which was an upholsterer’s attempt to shape the lumbar inappropriately.

A bit of the original fabric was used as a barrier.
Later you will see they also modified the frame to tilt the lumbar.
(Mitchell will repair the modification and return it to the proper original intent.).

The chair is turned on its back.

The burlap and webbing are removed.

The seat is excavated, saving parts to assist with patterns.

Much of the original material is intact under the newer elk hide.
We will save and reuse or save as part of the history of the chair…
and sew the label back into place!

The frame is laid bare,
and final assessments are made.

In the second through seventh images above you can see that the lower back lumbar support was twisted and nailed in a manner that is not original.
This change was created by someone wanting to make the lumbar more
comfortable who did not know how to upholster correctly,
and will be returned to the original position and upholstered correctly.

The Old Wood finish is deteriorating.  If the finish were in good condition and simply distressed, we would not have tried to preserve it with a topcoat, however, it was flaking and would continue to do so in a more exacerbated fashion now that it is going to be used again, so we will top coat the finish to seal and preserve it, next post.

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publish the next installments.

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May be reposted if our url + copyright is used as reference.

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French Walnut Country Buffet, 2, Excavation

FRENCH WALNUT COUNTY BUFFET

Follow along with our interim report for our client’s French Walnut Country Buffet:
Previously, we began with Assessment

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Our “before” images are our reference documents!

EXCAVATION

We removed the doors, and then the top of the buffet.

DOORS OFF

The hinge mechanism is second
generation; we know this because of previous bores, shown right.

We believe the decorative hinge set is likely
19th century.  It is a very cool hinge!

The hinge mounts are bolted
all-thread eye-bolts, above and right.
They are not a matched set,
and are even a bit jerryrigged.
It is likely they the are much
more modern, likely 20th century.

Some hinges show the need
for reparation; all will be
thoroughly inspected for a tune-up.

Doors off, we can see the carcass much better.

The right-facing door has splits and will be repaired.

TOP OFF!


The top is a great example of restoration people not working with the piece!
This beautiful buffet was dovetail, peg and mortice/tenon and paneled construction.
Sometimes these connections loosen after a couple hundred years, and shims of various sorts (and other traditional woodworking methods) solve the problem.
However, the last restoration people decided to drive nails in the top in three places, above.  In doing so they also broke two pegs, which we will replace.

With the top off we could see into the carcass, and easily assess the drawers skids and central structure, above.  Drawer skids are wearing, and worn skids eventually wear the drawer and you get sticky tacking.  Some skids were previously replaced.

I also allows us to assess the corner connections.

The top off, above, we can
also assess the underside.
Two sliding dovetail tenons are part of the mechanism which holds the top in place.

Punky wood and old pest infestations are easily seen.

We will try to extract nails such as the one shown right, and infill with wooden picks.  A cosmetic repair on the top might be a shellac burn-in.

The underside tells the story of the buffet’s long life.

The right-facing sliding dovetail easily releases, which we expect it to do,
with a few gentle taps.  Long ago hide glue was used for additional security.

The left-facing sliding dovetail was stuck, and we would have left it in place if we did
not have to remove it to insert keylocks on the large cracks on that end.
Gently persistent,  Mitchell finally made the wood move, and we uncovered the
reason why: someone had decided to nail it in place!
Thankfully this did not rip the underside of the top but simply bent over.

We knew the top was warped before the excavation, and it is unlikely that we would try to repair the warpage.  Laying the top on a flat table we
were able to run a metal straightedge and show how the top warps differently from one end to the other. If you look carefully at the images shown above and right, you can see the warped reflection curve in the table top!

Next post, we begin to repair the top! (Live when published.)
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Written by Kate Powell, ©MPF Conservation.
May be printed for your own use ONLY, not for use on blogs without permission.

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French Walnut Country Buffet, 1, Assessment

FRENCH WALNUT COUNTY BUFFET

Our client’s French Walnut Country Buffet was created in the mid to late 17th century.
The finish, likely original, has not been tampered with any modern finish materials…
It has a lovely patina that we will preserve and enhance.

FIRST IN-STUDIO ASSESSMENT

An in-studio assessment begins as we are readying for the excavation.
Every side is photographed; everything we notice is detailed.
Many overall images are taken so that if we open up the buffet and find something unnoticed we can see it in an image from before we disassembled the buffet.

Our “before” images are our reference documents!

Some of the obvious items we assessed in their home.
Everything might not be repaired, and everything is discussed prior to reparation.

We have a relationship with our client
to inform and come to agreement about protocol.

The buffet is built with two interior shelving areas.

Above, the largest, uses the center door and the right-facing door;
the interior has shelving and support issues.
The center door hings will be thoroughly checked once they are off the carcass
for possible compromised areas… this “tune up” is a wise thing to do when a piece
is in the studio because it is better to repair issues when everything is apart.
The right-facing door has compromised hinges, and a split in the frame.
We have the missing escutcheon, thankfully.

The drawers are a great example of damages that may not be repaired at this time, however, during excavation we are certain we will find compromised drawer skids!

The left-facing interior shelving area is the one which has the large opening where the outside panel has slide backwards leaving a huge crack.  We will repair this and examine the hinges for stability when the door is removed.

At some time the interior shelf was removed and a plywood shelf was inserted;
the stanchions were compromised.  This will be repaired.

As stated above, the drawers are a great example of damages
that may not be repaired at this time.

To show all the repairs in this buffet would be monumental;
we will offer a sampling of the many preservation/conservation repairs performed.

Next post, we excavate (disassemble) the carcass.
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Written by Kate Powell, ©MPF Conservation.
May be printed for your own use ONLY, not for use on blogs without permission.

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Business Etiquette


It goes without saying that clients should be treated with respect and decency.
I know we strive for that, and also try to keep on top of updates even though few clients ask for them, because progress on pieces is usually interesting to owners and curators.

Being a small business owner is both a joy and harder work than anyone can imagine.
Owners often do marketing, accounting, management, make endless cups of coffee,
do the dishes, update stock and whatever specialties come with a
particular business, on top of the work we get paid to do!
There is no sick leave and in some economies, no vacations.

Of course there are perks: working together and laughing at shop cats!

Why write this?
The pandemic has made
a mess of normal activities.

New protocols due to the pandemic keep us safe from getting the disease ourselves
but also slow our work day down… even entering and leaving the studio!
We took several days to set up our studio rooms differently.
Every interaction with people who do not wear masks is stressful,
not only because we have to ask and they may be angry about that,
but also because we are at risk in those interchanges.
Literally days have been spent on one or two clients
who refused to believe the pandemic was REAL and whose feelings
and viewpoints may have become inflamed though television and talk radio.

The psychological stress of anyone who has to continue to work under these circumstances, and take deliveries and so forth is that we wonder if we were exposed.
In our case, if one of us gets the corona virus, as a two-person business
(and now with no access to some of our skilled craftspeople), we are literally sunk.

Suppliers can’t get stock which means we can’t get stock.
Suppliers may not know when stock will arrive so we can’t make plans
or tell our clients when we can return to their projects which has made
some clients think we are not good what we do (more stress)!
Then our schedules for our clients are tossed in the air.
Some suppliers are not picking up phones because of
Covid layoffs (some only have owners going in) or staggered hours, so we are often
reduced to writing emails to see if we can get what we need… that takes time!
A lot of our items are specialty so it is not like Amazon can save the day!

When we have to change schedules and delivery dates clients are not happy
and we want our clients happy: most businesses want satisfied clients.
We are not happy either as we may not be getting paid on time!
Understand the supplier’s customers are not happy and they may have had a day of frustrated sometimes angry customers and so many are short with us.

Besides adding stress, all of this adds time to each day, non-billable time
that can take 2-3 hours a day… which means projects can take much longer…
there is nothing we can do about this that is not already being done!

I am going to suggest client etiquette, some of which we are taking with our suppliers,
which would assist us and other small businesses,
and frankly, the peeps that answer the phones at Amazon or Fedex too:

  1. Be polite… and be generous and calm in your emotional responses.  Consider that the other person may be doing the very best they can do and that there are conditions out of their control that may have caused your distress.
  2. Ask a business if they prefer a text message before sending it… for our purposes we do not unless we are coordinating an imminent delivery.  We prefer emails because they can easily become part of a client file and we can see images much better than doing business on a credit card sized screen.
  3. Assume that a business has a reason for their protocol, i.e., we ask for full contact information before engaging our time in estimates and other time consuming dialogues.  If you ask we would be happy to tell you why.  We ask for full name, address, phone number, email, if the person contacting us is the owner, and best time to call. Perhaps you live on the other side of the country and we might recommend another conservator.   We do not sell client information, but if someone is not willing to give us that information then probably they are not very serious about doing business with us and will likely waste our time.
  4. Read emails thoroughly and answer ALL questions, which keeps us from having to delay a proper respobnse because we’ve had to ask for the same info several times… We know everyone is not operating at full capacity as the pandemic stresses everyone, so it is important to slow down and read important communications.  We never send spam so if we write you, it is important to read and answer!
  5. Finally, work with the delays, understanding that delays usually mean in businesses such as ours that we can’t do better than we are doing and that we are also not getting paid if the projects are not completed, meaning we have a vested interest in completion!

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Louis XIV Revival Fauteuil, Upholstery Buildup, Back and Arms

Our client’s Louis XIV Revival Fauteuil, above.
We started, as we always do, with an assessment.
Then patterns were made and the textile and buildup was excavated.
The  frame finish was conserved.
The textile was cleaned and small reparations performed.
The frame was repaired.
The seat buildup (upholstery) completed.

Be sure to run your cursor over images
to see the text where applicable.


Arm Buildup


The arm textile pieces were conserved and stitched in the manner of the seat.

Coir was stitched onto the arm pod.  Jute burlap wrapped the coir and was stitched
into place.  Hair topped the amended pod, and a cotton topper before the broadcloth
was attached.  A thin topper of organic cotton batting was applied under the original textile, which was tacked into place.  The arm is ready for the gimp trim!

Back Buildup

The cleaned and conserved back textile had the same two issues
to be overcome in the upholstery process as the seat:
1) The edges had been trimmed to the edge, giving us no comfortable tacking edge.
2) The edge had thick embedded glue in the tacking margins.

Mitchell stabilized the edge prior to cleaning, and added the olive Dupinoni
silk with which to create a backing.  Mitchell had the same trouble with
the stitching because of the needles hitting the hard glue edges.
The backing allowed him an edge to tug on while applying the back textile later.

The original inside back hair pod was cleaned and shaped.

Into the outside conserved frame back the historic outside back showcover was
tacked into place; organic cotton batting is used under the dust barrier.
Another layer of cotton batting.   The original back pod is amended
with a different colored hair, and placed into the back frame.
Another cotton topper is placed over the hair pod, and topped with the broadcloth topper.
Another thin cotton topper, and the historic textile is tacked into place.

The chair is now ready for finishing touches, dustcover, secret pockets, and trim!

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The fauteuil in nearly completed; next steps are finishing touches.
As we post I will link to the next posting: follow us so you are notified of updates.

Written by Kate Powell  ©MPF Conservation.
May be printed for your own use ONLY, not for use on blogs without permission.

Posted in antiques, art, chair, conservation techniques, decorative motifs, Interim Report, preservation, process, reparation, restoration techniques, upholstery, wooden objects | Tagged , , , , , , , , , , , , , , , , , , | Leave a comment

Louis XIV Revival Fauteuil, Upholstery Buildup, Seat

Our client’s Louis XIV Revival Fauteuil, above.
We started, as we always do, with an assessment.
Then patterns were made and the textile and buildup was excavated.
The  frame finish was conserved.
The tapestry was cleaned and small reparations performed.
The frame was repaired.

Be sure to run your cursor over images
to see the text where applicable.


Seat Buildup

The cleaned and conserved textile still had two issues
to be overcome in the upholstery process:
1) The edges had been trimmed to the edge, giving us no comfortable tacking edge.
2) The edge had thick embedded glue in the tacking margins.

Mitchell stabilized the edge prior to cleaning.  To give himself a comfort area
during re-upholstery, we chose a strong olive Dupinoni with which to create a backing.  Mitchell had trouble with the stitching because of the needles hitting the hard glue edges;
he is quite adept at the sewing machine but the glue pushed the textile around.
The backing allowed him an edge to tug on while applying the textile later.

Another perk of the lovely color is that if the needlepoint/petitpoint looses threads
at a later date the olive is a good complimentary color underneath.

Webbing and Spring Tie

The original thin webbing was used to obtain maximum drop over time.
The center of gravity on the seat originally dropped in the seat center,
while the edges remained firm.  Mitchell chose a 11 lb 2-inch jute webbing to
replace the original, which was a metric width and just over 2-inches.

Original copper springs were still viable; they were stitched to the seat.

As the former holes were filled, new holes were carefully drilled when necessary.
Spring twine was waxed as it was tied.
Four-way Spring Tie was completed.

Buildup

Springs were covered with a hessian burlap,
and a holbein stitch used to lash them into place.
Coir was placed at the edge and stitched.

The original seat pod was cleaned and conserved, then placed over the seat deck.
The stuffings from here up are all new stuffings,
as the seat was robbed of its second stuffings.

Original seat pod wrapped in burlap to preserve, and hand-stitched into place.
A layer of hog and horse hair is added and stitched into place;
the depressions made by the stitching pattern is filled with a bit of loose hair.
All this is topped with a layer of organic cotton batting,
and a hemp broadcloth secures the entire seat deck.

One more topper of thin organic cotton batting, and the original conserved needlepoint/petitpoint textile is reapplied and tacked into place, ready for the gimp trim.

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Next step, the arm and back buildup.
As we post I will link to the next posting: follow us so you are notified of updates.

Written by Kate Powell  ©MPF Conservation.
May be printed for your own use ONLY, not for use on blogs without permission.

Posted in antiques, art, chair, conservation techniques, decorative motifs, Interim Report, preservation, process, reparation, restoration techniques, upholstery, wooden objects | Tagged , , , , , , , , , , , , , , , , , , | Leave a comment

Louis XIV Revival Fauteuil, Frame Reparation

Our client’s Louis XIV Revival Fauteuil, above.
We started, as we always do, with an assessment.
Then patterns were made and the textile and buildup was excavated.
The  frame finish was conserved.
The tapestry was cleaned and small reparations performed.

Be sure to run your cursor over images
to see the text where applicable.

The frame was in very good condition: two issues, numerous tack holes in the frame needed to be stabilized, and the corner blocks needed to be replaced.

We repaired the damage created by many tack holes.
Nail holes were filled with hide glue and hard picks were tapped into each.
This effectively fills the voids and creates a stronger frame.

A Japanese saw carefully cuts the pins to the surface,
and Mitchell used a chisel remove any unleveled nibs.

Mitchell removed old inadequate and damaged corner blocks on all four corners;
they were fragmented and too small for an entablature that will take
the tensions of the upholstery.  New corner blocks were cut and fit,
glued using hide glue, and nailed into place.

At this time the blocks had hard edges.

Hard edges were chamfered because the softened edges will not cut into the various materials of the buildup, including the tapestry if it comes into contact with them.  The corner blocks are also finished in case of bleed-through over the years.


The frame is ready for buildup, next steps.
(Note in this image the corner blocks were not yet colored.

As we post I will link to the next posting: follow us so you are notified of updates.

Written by Kate Powell  ©MPF Conservation.
May be printed for your own use ONLY, not for use on blogs without permission.

Posted in antiques, art, chair, conservation techniques, decorative motifs, Interim Report, preservation, process, reparation, restoration techniques, upholstery, wooden objects | Tagged , , , , , , , , , , , , , , , , , | Leave a comment