Provenance: Polla, vallo di Diano, SA, southern Italy
Description: Extendable table in solid walnut. Local artisanal production, good quality, poor conservation conditions. Missing central plane and completely redo the lower bands.
Restoration: The furniture was in precarious storage conditions. The center of the top has a plywood sheet that does not fit the solid walnut table. The lower area of the feet is completely redone, in good condition only the central elements. The table has been smoothed and all the elements that are not suitable or in bad condition have been removed. The lower part has been rebuilt with two antique solid chestnut tables, while the missing extensions have been rebuilt from scratch again using solid chestnut. The structure of the table was compromised for this was disassembled and the two side panels in solid walnut. Were rebuilt on the model of the pre-existing ones but no longer usable. Reassembled and re-glued, the table was dyed light walnut and then spray-painted.
Period: first quarter of the twentieth century Style: Rustico Provenance: Vallo di Diano, SA, Southern Italy Description: Rustic table in rustic built with native wood mixed area. Standing chestnut, plane and horizontal elements in spruce, fir tipping elements. Built with good mastery it is a solid table and is intended to last in time even if made of wood with no high durability in the plane and in the horizontal elements. Restoration: The cabinet was in poor storage conditions. Attacked so it extended by wood-eating insects, and covered with numerous re-painting series that hid fillings and patches distributed throughout the table. The table was completely stripped to bring the original wood to “breathe” and can be treated against wood insects. Reset of the table volumes filling and removal of non-original frames has opted for an antiqued lacquering.
I have a university education but I attended a workshop antiquarian. Conjugate these experiences to everyday practice and the constant study and updating necessary in the practice of this profession where you never stop learning, especially from the past. I try before you begin a job of framing historically and stylistically mobile that I face identifying interventions that has suffered over time, and the general state of conservation of the piece. The interventions that go to make the object have conservative and recovery character as far as possible of a condition as close to the original as having unique foreclosure the uniqueness that the piece has reached both from an aesthetic point of view and from a point historically including in this uniqueness also measures non-originating. The products that use for the restoration of a mobile are compatible with the age of the piece on which I work, for which where necessary to use glues, consolidating, fixatives and coatings of animal and vegetable origin, in other words those used at the time when the ‘object was created. Not dislike the use of new generation of products or industrial origin in all the processing phases, these ensure a greater adherence to the daily needs of dell ‘object fruition. The restoration techniques pursue the same principles of interventions trying to use machining and finishing techniques compatible with the age of the piece, for example (coating wick, grouting with rabbit glue and pigments), but is a minor player use that object is going to do.
Frames in oak, 70 years of the twentieth century, Botrugno, LE.
State of affairs before the operation
Doors and windows not well made oak. In the past, window frames were the subject of a major woodworking intervention to try to mitigate planning errors. The brass bands have been added in this intervention. The state of conservation of the windows was fair: numerous repainting prevented proper functionality of the fixtures, but the wood was in good storage conditions.
The intervention goal was primarily to restore the functionality of the window frames, secondly remove the stratified coatings for use a protective coating of better aesthetic impact and especially of easier maintenance. The removal of paints present was the first, essential to have a clear picture of the conditions of the frames. E ‘was used to remove the paint remover liquid paint between the strip and strip. difficult to achieve with other mechanical tools. For the flat surfaces it proceeded with a mechanical removal using a chisel transversely to the plane to lift the paint from the support. Eliminated roughly paint in this way is passed to sanding with electromechanical sander to a smooth surface and ready to absorb the new paint. It took some carpentry work and stucco spread. Then it proceeded with the paint by brush in three drafts. Some comparison images give an idea of the work done E ‘was chosen a synthetic paint impregnating wax Amonn effect, the product is called Lignex Renova plus.