Conservation of Mason Monterey Tinoco Bedside Stand

W16 MONTEREY TINOCO HORSE TABLE MPFC 10We were to conserve and restore a Mason Monterey side table with the charming, funny and valuable Juan Tinoco horses on the drawer front.  This is a project that included conservation/preservation (cleaning dirt and mold from the paint, and affixing loose paint) and restoration (infill in the exposed white gesso areas.)

W16 MONTEREY TINOCO HORSE TABLE MPFC 07 W16 MONTEREY TINOCO HORSE TABLE MPFC 08Unfortunately, the table was abused mightily over the years, having been stored with excessive temperature and humidity changes (meaning outside that which a human being might endure) causing losses from cracked paint (not to be confused with the lovely intentional stable craquelure of the original finish on the drawer front) on both the drawer front and the overall Smokey Maple finish.  Besides the obvious losses (see the bright white of the gesso), many tiny cracks of paint were about to drop.
The side table was covered with losses and lifting paint in the original Smokey Maple
paint on legs, panels, and stretchers.  The table top was warped, lifting on both sides
from the frame; nothing was to be done about the warpage.

W16 MONTEREY TINOCO HORSE TABLE MPFC 09Further, a child used the front to draw on with crayons, presumably before the paint began lifting and cracking, and this was not removed prior to the extensive paint damage.  Removing what appeared to be crayon before stabilizing the paint is challenging;
I could not guarantee to the client that I would be able to remove the crayon
and would not sacrifice the original painting by Tinoco to do so.
Because of my own love for this furniture it was a bit nerve-wracking.

W16 MONTEREY TINOCO HORSE TABLE MPFC 01Note: It is easier to see the damage and the painted surfaces from
the side views, or when the images are a bit tilted.

W16 NW MONT SIDE TABLE CLEAN 016 MPFCBefore beginning in earnest, I tested the various types of staining or dirt for movement.

W16 NW MONT SIDE TABLE CLEAN 027 MPFCFinally satisfied that I knew the inherent limitations and choices of the project, I began.
Cleaning is extremely patient and time consuming work.
MOST of the “crayon” was removed, except for a bit of smear that remains
in an extremely damaged area right above the handle.
The paint lifting and chipping was simply too fragile, so the slight residue of
waxy black was left in exchange for possible losses in the painted surface.

A mold found in several crevices and just underneath
the warped top was removed and treated.

W16 MONTEREY TINOCO HORSE TABLE MPFC 16Clean, it was time to secure the tiny ships of paint to the surface.

W16 MONTEREY TINOCO HORSE TABLE MPFC 21It took two applications before the lifting was secured.  You can also see the brightness (some is a change in cameras but it also brightened a bit) after the applications.

W16 MONTEREY TINOCO HORSE TABLE MPFC 25Infill began.  Even though we now know the formulas for the various colors (having done many conservation and restorative processes on Monterey, including spectrometer analysis of original Mason paint) each time, the paint must be tweaked to the proper color for the actual piece.  Paint ages, for one thing, but also, just like dye lots, these mixes were done in batches and batches can be a bit different.  Also, contrary to some popular books on the market about Mason’s paint, there were also several distinct shades of reds and greens and blues used from the beginning.

For infill to be properly executed (meaning not obvious to the naked eye)
it is a 3-4 step process over a month’s time.  I chose a darker image, above, because it is better to see the brights of the infill before the final topcoat is applied.

Below, one of the horses before infill began and after all treatment but the topcoat was applied.  Note the bright spots.  It is costly to infill such a damaged piece but the topcoat takes care of the teeny bits of exposed white gesso.

W16 MONTEREY TINOCO HORSE TABLE MPFC 32The final topcoat applied, above.

The Smokey Maple finish was deteriorated and lifting as well, though much of the extensive damage was complete. The goal was to clean and stabilize, then add enough paint to protect and renew without making it “new” — and so, unlike removal of a white stain in a shellacked table top, we left the cleaned stains (no oily residues) intact and over-coated them with the Smokey Maple paint.  Two coats were applied to the top;
light coats allow variation and allow the piece to appear as if it were well-loved
rather than neglected and restored.  Understand, MPFC’s restorative applications were driven by preservation and aesthetic necessities, not to fool the eye.  Therefore, a knowledgeable collector and/or conservator would know the piece was restored.

It is nice to have various pieces of Mason Monterey in the studio to compare when restoring: see the excellent match to well preserved Smokey Maple finish of a
well-loved bedside table in the dark and bright images below.

Below, the piece is curing before we reduced the sheen.

W16 MONTEREY TINOCO HORSE TABLE MPFC 33The leather handle should be replaced, but the client did not approve
payment for that treatment, which, while small, is costly in time.
The leather is beyond what might be a normal level of rot.
However, we treated it to slow the further degradation, and then over-coated it with Smokey Maple, as leather is often painted with oil paint!

W16 MONTEREY TINOCO HORSE TABLE MPFC 38The final result, a stable semi-matte finish that will also dull quite a bit as it cures.
We are instructing the client that the piece is gently usable,
though surface coatings are quite durable.
The top is completely stable, however, the front of the drawer should be treated
as a painting, and care should be taken with this lovely artifact.

Slide show below.

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Posted in antiques, art, conservation techniques, decorative motifs, Interim Report, mold, painted furniture, preservation, process, reparation, restoration techniques, wooden objects | Tagged , , , , , , | 9 Comments

One Man’s Trash

This gallery contains 12 photos.

Originally posted on No Facilities:
Cherished Workshop Stool As I look around my workshop, I see hundreds of objects that are important to me. Some are favorite tools. Some are jigs and fixtures that I’ve made to make woodworking easier.…

Gallery | 2 Comments

Creating Random Pattern in a Painted Finish

W16 5 5 HW SOFA B4 006

The sofa as it came to us. I am skipping all the work Mitchell has performed doing proper conservation work, reparation of the frame, and going to the finish, because people think this type of finish is the easiest one. WRONG. Give me a good shellacking to do any day!

This is a European Pear wood, Louis XVI, French Empire Sofa from the mid-18th century.
The image above is the way it appeared when it arrived in our studio.

W16 5 5 HW SOFA B4 059 The frame was well-loved by generations though abuses by upholsterers and
improper repairs and tackings eroded and exposed substrates which required expert treatment, including returning the bent frame to its proper proportion,
bent frame shown above.  The sofa was to be returned to historical accuracy in terms
of the upholstery buildup, with the frame properly repaired, but we worked with the existing finish.  Since the original painted finish was no longer intact,
we did not concern ourselves with historical accuracy.

By far one of the most difficult jobs I have is creating the look of an old randomly worn painted finish.  On this sofa, I was to recreate the look of two previous paint jobs which had been subject to chemical strippers decades before, while still upholstered.  We assume the restorer realized his/her mistake, and left the clabbered, shriveled, accreeted paint shedding from the reliefs and carving everywhere on the decorative frame, shown above.
The original painted finish was still evident beneath the scabbish surface though it had been thinned by stripping and scrapping.  The efficacy of the existing finish was long gone
by the time we received the sofa to conserve, however, the exposed pear wood
had developed a beautiful patina where it was exposed.

W16 7 HW SOFA PAINT ARTICLE 18The colors I had to match — or not — above. Not the gilding, and yes, there were bits of that left here and there. In this original finish detail, you can see, from the base up: the peach colored pear wood, a very old grey-green paint, a newer peachy-warm-cream paint, and a white-tinged-with-olive- green paint.  We even found traces of the stripped painted gilded finish underneath.  Our job was to recreate the paint job above and below,
which literally was falling off the sofa with any handling.

A random pattern.

A random pattern is not creating the look of paint worn — paint tends to wear off quite predictably, along edges and where it might bump the wall, or where heels kick it.  But a random pattern where the paint was supposed to have fallen off… argh!

How does one recreate what happens
naturally over time?

How do you recreate a faded paint
with many layers of color? 

DIYers are taught it is a wipe job with a crinkled rag, but it is much more complicated.
I had to cover up areas where someone had used pieces of mahogany to fill missing frame moldings, including areas where previous reparations were created using puttys,
match or blend at least four distinct colors,
and also allow for the oxidized pear wood to  shine through.
Because it was upholstered incorrectly previously, parts once hidden were visible again.

I was handed the frame repaired and ready for proper upholstery.  I began by mixing colors, testing layers on both a second piece of wood and on inconspicuous parts
of the frame then matching them against the same images you see here.
In the end there were three colors that made up the finish on the frame.

W16 7 HW SOFA PAINT ARTICLE 09To cover up the mahogany, a pear-wood toned paint was mixed from Titanium White, Transparent Earth Red, and from time to time (because the wood changed color on the frame) a bit of Indian Yellow.  This was also used to cover previous metal repairs which stayed on the frame.  It is hard to
match a teeny sliver of paint!  The paint
job was done by hand and with a scratchy old #4 round paintbrush.

The overcoat of “white” was really Olive Green and Titanium White.
This, too, was applied by hand.  To achieve RANDOM BALANCE (what a concept)
I looked at the areas which needed the most coverage and
then moved to balance that coverage randomly on the rest of the frame.

W16 7 22 HW SOFA FINISH WAX ON 010Finally, a slightly yellow wax with beeswax/carnauba/mineral spirits was created to coat the paint after it was fully cured, and to influence the final color of the sofa, above.
The wax was left to partially cure, then scrubbed off with an acrylic  toothbrush,
then rubbed again to achieve a buffed appearance (bottom final images).

W16 7 23 HW SOFA FINISH WAX OFF 010

I keep notes on every client’s finish in case I need to reproduce the finish.

Last glance — and a glimpse of the upholstery coming.

W16 7 23 HW SOFA FINISH WAX OFF 015 W16 7 23 HW SOFA FINISH WAX OFF 011©MPF Conservation.  May be printed for your own use.
May be reposted if our url + copyright is used as reference.

Posted in antiques, decorative motifs, painted furniture, pigments, restoration techniques, waxes, wooden objects | Tagged , , , , , , , , | 1 Comment

A Longer Video on Conserving the Eclectic Sofa

This slideshow shows the process (in abbreviated form) of conserving the Eclectic Victorian Tufted-Back Sofa.  There is an interesting story behind this and the two chairs that are part of  the set: stay tuned over the next few months for the story.

W15 1 27 KP ECLTC SOFA B4 002BEFORE CONSERVATION

W16 1 27 KP ECLTC SOFA AFTER 281AFTER CONSERVATION

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

 

 

 

Posted in conservation techniques

Real Men Spit Tacks

W15 1 27 KP ECLTC SOFA B4 002

American Shield Back Victorian Settee, Eclectic, Ca. Mid-19th Century, before conservation.

Real men upholsterers spit tacks.

W15 12 11 KP ECLTC SOFA UP WEB 014After all these years, it still creeps me
out a bit — I see his cheeks bulge a
specific way while he is having a
conversation with me and I’ll peer at
him as if he is under a microscope,
“Do you have tacks in your cheek?”

“Yup.”

And I repeat myself as wives
(and husbands and partners)
do when they stick around a long time,
“Aren’t you afraid you will choke on a tack?”
(Truth is I’m afraid he will choke on a tack.)

“Hasn’t happened in 40 years…”

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

Posted in conservation techniques, musings, process, restoration techniques, tools, upholstery | Tagged , ,

Restoring Rothko (Tate)

Posted in conservation techniques

Process: Circus Ball 3

We left the Circus Ball as it had been
prepped for its paint layers.

I am so sorry that all my images of the ball sanded smooth are very blurry!
Happily, the detailed images are in sharp!

The first coat of paint dragged as it was applied over the Araldyte.
I checked in with our client, because one problem with our treatment is that
we never were able to see the ball as it was before the stripping caused the wood to lift.
I could not tell if my assumption of the ball’s surface was correct.
I doubted it would have been extremely smooth,
because a performer has to be able to stand, grip and roll on the ball.

Our client told me that the surface looked
very much as it had originally!

W15 12 8 JK CIRCUS PAINT 1

I thought that the paint build-up might be more interesting, but truthfully, it is Gamblin’s Silver oil paint, and each coat looks close to the same — so not a photogenic moment!

W15 12 12 JK CIRCUS PAINT 1yIn all, four coats of paint are on this ball, and it is curing.

Next will come the blue star!

w15 jk aunt circus ball banner

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

 

Posted in conservation techniques, Interim Report, painted objects, preservation, process, reparation, restoration techniques, wooden objects | Tagged , , , , , , , | 2 Comments