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Next page. Stay fit and well in Leeds at a healthy social distance with this brilliant range of online and…. Visual art is popping up all over the place, and in some unexpected corners too. We're also sharing…. I ended up first reading Nicholson's chapter, then going back to hunt for the pages of the usually shorter commentary. True annotation would have been much more valuable and instructive.
The information is nonetheless interesting to the layman familiar with only one or two of the crafts. I found myself particularly absorbed by the chapters on stone cutting, slating, and plain or decorative plastering. The woodworker has two hefty chapters to enjoy: Carpentry and Joinery ". These two chapters are fairly solid how-to descriptions of various aspects of the crafts, but do not really speak to the point of conservation, merely restoration, a distinction I shall discuss in the review that follows.
Care to frame out an elliptical domed roof? See page How about laying out the flutings of a column or pilaster? Turn to page Though interesting almost as novelty, Bowyer's "overview" of Nicholson's text does not have a clear focus, and because of the diversity of topics, it lacks the substance available only in source books concentrating on a single subject.
Furniture Care and Conservation by Robert F. McGif-fin, Jr. While Bowyer's Handbook, contrary to its title, really is not about conservation, Furniture Care and Conservation is one of the few books available that treats the subject directly.
It would be nearly impossible, however, to write a textbook on the profession of furniture conservation, since the conservator is required to be proficient in fields as diverse as organic chemistry, metallurgy and wood joinery. So what McGiffin does is not so much give us a how-to, but rather tell what conservation is: a science, distinct from restoration.
Before proceeding, I want to make it clear that I'll use and define the terms "conservation" and "restoration" very carefully in order to make an important point, and that I intend no offense to the many skilled craftsmen who repair and restore damaged furniture of no historical significance. In restoration, if it looks right, it is right. In conservation, however, the conservator approaches every object as an artifact that exists in a cultural continuum and is merely passing through the present on its way to the future.
Conservation is the science of making this journey comfortable without compromising the historical integrity of the piece. Appreciation of this idea gives meaning to the tenets of conservation as expressed by McGiffin and by the code of ethics of the American Institute for Conservation of Historic and Artistic Works AlC : restraint and reverSibility.
This means that a conservator is primarily concerned with doing what is necessary to stabilize the degeneration of an object in such a way that his work can be undone in the future when further work may be needed or when technology makes better treatment possible.
Though a conservator will often tone down blemishes, or enhance a worn or faded finish, the appearance of age is considered an historical record of the artifact's journey. Total regeneration is not sought because it could cause irreparable harm to this record; rather, preservation is the goal.
McGiffin has written this book for non-conservators who deal with old furniture: collectors, curators and craftsmen. His major accomplishment is in making the reader appreciate the weighty responsibility of stabilization, preservation and maintenance of artifacts. Yet he also describes procedures that can be carried out by the amateur to assist the conservator with his task. Though it is a trite expression, tour de force keeps coming to mind as I continue to reread this book.
McGiffin covers, albeit briefly, every phase of the conservator's job, from preliminary inspection, through cleaning and repairing, to post-treatment care or storage. Whatever the subject, he makes it clear that there is a line between what can or should be attempted by the talented amateur and what properly requires the skills of a conservator. I see this book as a backfire set to control the uninformed and, in many cases, destructive treatment of period furniture by well-intentioned but untrained hands.
It therefore becomes a guide for the partially trained, not so much for what to do when conserving a piece, but where to stop-a gentle but firm lecture on where to draw the line. Every conservator will find something to disagree With, but the profession owes McGiffin a tip of the hat for the larger service he provides. As for useful information, the appendix is loaded: sources of supply, read-. Inexpensive Woodworking Small Business Ideas.
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