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Abstracts, WAG session, Learning to Look: Teaching Cross-section Microscopy
Analysis Techniques An Exploration of Surface: Deciphering
the History and Meaning of the Winterthur Peter Stretch Clock’s
Finish Considering All the Facts and Possibilities:
The Investigation and Treatment of Sixteen Decorated Cast Iron and Wood
Benches, House Chamber, 1859 Conservators in the Marketplace: Fakes and
the Ethics of Honesty Damage and Loss of Value: Appraisals for
Furniture Hello Wall! The Authentic Surface vs. the Replica What is “Real”? Using Upholstery
Evidence to Determine the Age of Seating Furniture The Reproduction of a Pair of 1824 Duncan Phyfe
Window Benches: A Tale of Talent, Torment and Patronage Early Cellulose Nitrate Coatings on Furniture
of the Company of Master Craftsmen Learning to Look: Teaching Cross-section
Microscopy Analysis Techniques The class begins with a group project, typically a complex painted wooden object from the Winterthur collection, as a way to sort through the comparative paint stratigraphies and to look for evidence of alterations, restorations, and repaintings. Each student is then assigned an individual project from a wide variety of material types, including lacquered Chinese boxes, weathered trade signs, painted wallpapers, degraded floor cloths, wooden polychrome sculptures, gilded frames, painted and gilded furniture, and detached architectural elements. As the analysis progresses the students share and discuss their results. Sessions on traditional paint and varnish-making techniques and faux finishing help the students relate the evidence in their samples to traditional craft practices and materials. When the cross-section evidence requires further clarification, selected samples are chosen for additional analytical work, such as polarized light microscopy and FTIR microspectroscopy. This presentation will discuss how this teaching process has been refined and will present examples of how student analysis projects helped to comparatively date coating layers, identify original materials and deliberate pastiches or married objects, and compare similar objects of different dates. The Levels of Authenticity of
Dutch Painted Softwood Furniture The demand for painted furniture was high. However, even before the vogue started, very little authentic 17th and 18th century pieces had survived. Soon antique dealers, craftsmen, and painters started to copy and fake antique painted furniture to such an extent that it became an entire industry. Boonenburg (1960, 5-6), former curator of the Zuiderzeemuseum in Enkhuizen, warned his readers not to collect painted furniture themselves, because he feared there were more fakes than real antiques. Little did he know, he and his colleagues would become victims of the same fraudulent practices themselves. Along with the new vogue a vast body of art historical research was undertaken on Dutch painted furniture. This research has mainly focused on the iconography of the scenes and their origins. Many scenes were based on a few illustrated bibles and books on the history of the holy land, dating from the early 18th century (Triebels, 1960; Jas, 1992). Apart from this many 17th century paintings have been copied on to corner cabinets and the like. The pieces of furniture themselves, however, remained unassessed. The date, provenance, and level of authenticity of most of these pieces are based on assumptions. This lecture will focus on the varying degrees of authenticity of painted
furniture that was studied as part of an ongoing PhD research on Dutch
painted softwood furniture dating between 1600 and 1900. Some 120 pieces
have been assessed with regards to paint stratification, material analyses
of pigments and binding media, wood species, types of nails (Janse, 2004),
traces of tools and machines like wind-powered sawmills (Piena, 1999).
In addition, contemporary pictorial and literary references on the objects,
painting techniques, and interiors were consulted. Eight different levels
of authenticity have been defined, ranging from entirely authentic to
fabrications with parts of old wall paneling to entirely new products.
Pieces of all eight levels of authenticity can be found in Dutch museums.
During the presentation clear examples of each level of authenticity will
be discussed. Learning from Reproductions: Fabricating
a Set of Baltimore Painted Chairs Gary Baker, curator of American collections at the Chrysler museum, contracted the author to conserve the two surviving pieces, a pair of backless window seats, and to provide the ten reproduction side chairs based upon the study of the original window seats as well as the examination of a similarly decorated side chair (also probably by Finlay) in the Colonial Williamsburg collection. This combination of the conservation treatment of the window seats followed by the fabrication of the side chairs led to a more thorough understanding of the work of the Finlays and other Baltimore fancy furniture makers. First, the investigation of techniques and materials used to construct and decorate the window seats greatly informed the processes used to reproduce the side chairs. In addition, the study of the side chair from Colonial Williamsburg provided information unavailable on the window seats; the form and decoration of the stiles and tablet provided logical prototypes for reproduction, while the rare survival of its original upholstered slip seat proved an invaluable resource. Moreover, the fabrication of the side chairs provided great insight into some of the efficiencies incorporated into the manufacture of Baltimore painted furniture, demonstrating its place in the development of industrialized production using the work of a range of specialist artisans. Indeed, to achieve the workmanlike spirit inherent in the artisanry of extant original Baltimore painted furniture, the author chose to subcontract much of the actual fabrication to specialist artisans engaged in small-scale production shops. Baltimore artisans Mark Supic and Joe Scolati, a turner and chair maker, respectively, provided the undecorated chair frames. Suzanne Collins, a Virginia painter of decorative interiors, learned to imitate the ornamental style of the Finlay brothers. Meanwhile, upholstery conservator Jennifer Zemanek carefully reproduced the upholstered slips seats according to the evidence on the Colonial Williamsburg side chair. The presentation will feature some of the discoveries resulting from the synergistic interplay of conservation investigation and thoughtful reproduction, particularly with regard to the painted decoration. For instance, texts on Baltimore painted furniture invariably describe the characteristic oil-gilt ornament as “stenciled” decoration. However, careful examination of the old gilding on the prototypes described above betrays a sense of freedom unlike stenciled decoration, and subsequent attempts to replicate the ornament using stencils proved fruitless. Obviously, the makers of the original chairs incorporated more free-hand work than previously acknowledged, a feature that may account for the artistic merit of their designs The Authenticity of French Furniture:
Interpretation and Preservation Issues In November of 1994, the “Nara Conference on Authenticity” was held in Nara, Japan. Forty-five of the leading experts in the field of preservation of cultural properties, representing twenty-six countries from around the world, met for about a week. Their goal was to clarify the application of “the test of authenticity” to World Heritage nominations by revising and extending the definition of the various aspects of authenticity now noted in the “Operational Guidelines for the Implementation of the World Heritage Convention”. The Nara Conference resulted in the adoption of a declaration: “The Nara Document on Authenticity”. Even though this conference was not directly related to furniture, the questions that were then raised can enhance our thoughts on the authenticity of furniture. One aim of this paper is to suggest - as it was done in Nara for cultural properties - criteria that would help us evaluate the authenticity of furniture, and therefore preserve it. Prior to this attempt, the evolution of the definition of “authenticity” and “authentic” will be briefly discussed, as well as the meaning of related notions like “original”, “fake”, or “copy”. A few examples of eighteenth century French Furniture that were modified - sometimes shortly after they were made - will illustrate the difficulty of interpreting the authenticity of furniture. Looking through the history of restoration and conservation, it becomes clear that different levels of authenticity exist and did not receive the same attention depending on the period of time or culture. By keeping that in mind, and by thorough historical and technical study of the piece of furniture we have in front of us, it becomes possible to suggest evaluation criteria of its authenticity. Because a restrictive interpretation of authenticity can result in a restrictive practice of our profession, and in mistakes due to a poor understanding of what we are trying to preserve, it is important to clarify this complex concept of authenticity. An Exploration of Surface: Deciphering
the History and Meaning of the Winterthur Peter Stretch Clock’s
Finish Scientific analysis of the clock’s finish was undertaken with two aims: to provide physical evidence supporting the conclusion that the ornament is original, and to determine possible treatment approaches for the finish. To gain information regarding the surface’s composition and history, a variety of analyses were performed, including ultraviolet light examination, cross-section microscopy with fluorescent staining, Fourier-Transform infrared spectroscopy, x-ray fluorescence spectroscopy, and gas chromatography-mass spectrometry. The finish stratigraphy observed on the fretwork and sarcophagus carving was consistent with that seen on known original surfaces. The layer structure and material composition were also consistent with an aged, nineteenth-century surface possibly including an original eighteenth-century surface. It was concluded that the ornament is most likely original. A variety of treatment options were also discussed. The limitations of material characterization of the complex, variable, layered structures of organic finishes were highlighted during this study, and possibilities for future analysis were suggested. Considering All the Facts and Possibilities:
The Investigation and Treatment of Sixteen Decorated Cast Iron and Wood
Benches, House Chamber, 1859 This paper and its corresponding treatment address the change in the original form of the benches; the extent of the previous repairs and alterations; the current condition of the cast iron and wood elements and their existing coatings; the current and projected usage, handling, environment, and maintenance protocols and conditions; the historical research into the decorative practices of the period; the analysis of the existing coatings histories; and the redecoration of the wood and cast iron elements to replicate their 1859 presentation surfaces. The Capitol archives presented historical documents including letters, correspondence between the supervisors and craftsman, and orders for supplies which stated that the cast iron elements were to be “painted a Florentine Bronze” using twenty-five papers each of Florentine bronze, brass, and copper bronzing powder which were to be applied on a ground with oil size and top coated with varnish. The analytical findings were compared with the actual historical data relating to the coatings comprising the original presentation surface and with other original interior decorative surfaces from this period in the Capitol attributed to Constantino Brumidi in an effort to arrive at an interpretation of the Florentine bronze surface. This exercise was further substantiated with the visual comparison of multiple coating windows/reveals of the original Florentine bronze surface and decorative pattern on the four benches. Nine of the reveals were isolated from the redecoration procedures and top coated in an effort to ensure their preservation while allowing continued study and interpretation of possibly the only extant example of a Florentine bronze surface on cast iron from this period in America. Conservators in the Marketplace: Fakes
and the Ethics of Honesty The conservator/consultant is usually called into the marketplace in three areas: to propose a treatment plan for a prospective purchase, to authenticate a piece through a vetting committee at an antiques show or for an auction house prior to sale, and to authenticate a piece for a prospective buyer. The first area is no more than submitting a treatment proposal, but what are ones responsibilities when the person asking for the proposal doesn’t own the piece? In the second area, conservators are now asked to make judgments on a piece’s ‘show worthiness’, to judge the extent and quality of repairs, and most importantly, authenticity. Should conservators make the leap from condition reports to subjective judgments about age and authenticity? If they do, are their judgments private or do they have a higher responsibility to insure the buying public is aware of the conditions they have discovered? The third area of advising prospective buyers brings in the questions of fees. Conservators typically base their fees on an hourly rate and appraisers are prohibited from charging a fee based on value but consultants and dealers typically get a commission based on a percentage of the sale price. Should conservators do this? How then should one charge for negative advise that saves a client money? This brave new world has proven to be both lucrative and elevating for conservators, but the risks of becoming arbiters of age and condition are great as well. Conservators like doctors are enjoined to do no harm. What happens when condition reports make objects fail to sell? Do conservators have a responsibility to make public their treatment reports when a seller does not? Should conservators render judgments of authenticity at all? The demands of the marketplace will not allow conservators to remain uninvolved in this high stakes and risky market and the traditional ethical guidelines have yet to come to grips with this situation. Damage and Loss of Value: Appraisals
for Furniture When dealing with total loss due to theft or destruction, the appraiser must create a hypothetical appraisal unless one can be assured that a color photograph or other type of image is an actual reproduction of the object and any previous written data is accurate. The appraiser must also be assured by a knowledgeable person what the condition of the object was immediately prior to the loss. Failing the above, only a hypothetical appraisal is allowed. Yet, when an art object is damaged, the appraiser faces a more difficult series of problems. Variables may include media, age, location of damage, original value and replacement value after repair work, and the quality of the repair. This lack of a universal methodology in dealing with damaged items causes most insurance claims to be settled by “horse trading.” The insured’s appraisal often demands more than is fair and the insurance company’s less, usually resulting in a compromise settlement. But is the settlement amount a proper measure of the damage suffered? Too often the insurance industry’s assessments are based on overly simplistic formulae. For example, a chair with its original painted surface has lost the painted decoration on the crest rail. The chair, one of a set of six, has an insurance replacement cost of $15,000 because the painted decoration is so extraordinary and sets of six chairs are more unusual than sets of two or four. To assess the loss of value of one, the insurance company in their cost estimating system will take the value of the set of chairs, and determine that the actual cash value of a single chair is $2,500, decrease the value of the set of chairs by that same amount (one less chair) and think they have determined the value of the damage to the set of chairs. But five chairs are not a set; six chairs are coveted more in the marketplace and repainting its original surface is anathema for the collector. Restoration in this case will not increase the value of the set of chairs. Certain rules can easily be established to minimize errors of evaluation. Criteria for damage vary with different art forms so that, for example, prints, sculpture, and furniture should each be examined separately, and types of damage should be graded regarding severity. The same damage has a different discounted value depending upon the age and scarcity of the item. In general, the older the art work, the piece of furniture or decorative arts object, the less available and more desirable it is in the marketplace. Older works can absorb the value effect of damage and repair much more easily than contemporary examples. When considering current or near current art objects, which can be replaced more easily, the tolerance should be less and the percentage deducted for damage should be greater. When a condition report lists corrected damage, the value of the piece is lowered even if the repair leaves no visible mark. Usually non-invasive, conservation attempts to stabilize damage and prevent further deterioration. Restoration often includes the replacement of a missing part so that the piece appears whole. This is a more invasive procedure and, if not executed properly, it can destroy the look of the piece. Restoration can affect value far more dramatically than conservation. The important element is not to destroy or compromise the integrity of the object. Hello Wall! The Authentic Surface vs. the
Replica This paper will compare the originals with the replicas regarding the materials of construction, differences in detailing, and decorative technique. Issues of authenticity, value, and appropriate treatment will be addressed. What is “Real”? Using Upholstery
Evidence to Determine the Age of Seating Furniture At other times, investigation of the upholstery provides very helpful information. At times the evidence of upholstery techniques or materials – for example, the use of springs – can be the determining factor in establishing a date for the furniture. This paper will use case studies from the work of several upholstery conservators to explore both of these situations. The Reproduction of a Pair of 1824 Duncan
Phyfe Window Benches: A Tale of Talent, Torment and Patronage Mr. Jenrette is the owner of six historic houses and has restored and furnished many others. He has established the Classical American Homes Preservation Trust at 69 East 93rd Street in New York City with private funds to endow and maintain these houses. His houses have always been open to preservation groups by appointment in order to educate and develop connoisseurship of the neo classical period in America and to share the passion he has developed over many years. Through his Trust he hopes to maintain these properties for all to enjoy. This paper will examine the significance and rarity of the window benches and describe them in detail, including the distinctive techniques used in their fabrication. It will also elaborate upon the process of reproduction and a curious pitfall of remuneration. It will examine the rights held and exercised in their reproduction by both owner and loanee from philosophical and ethical standpoints. In addition, it will examine the interpretation of such artifacts now and in the future, including a thorny misunderstanding that took place when one of the benches was submitted to a show of new gilding work. Finally, the paper will examine the present condition of the benches after a lifetime of twenty years and ways in which such artifacts may be interpreted and distinguished from period artifacts in the future. Early Cellulose Nitrate
Coatings on Furniture of the Company of Master Craftsmen In 2004 the Museum of Fine Arts Boston (MFA) acquired several pieces of furniture of a bedroom suite made by the Company of Master Craftsmen, New York. Other parts of the suite are in collections of museums and private owners of the US. One of the MFA objects, a chifferobe, showed severe damage to the original cellulose nitrate coating. The required treatment of this object initiated this research project, which called for an interdisciplinary approach of conservators, conservation scientists, and curators. This research project deals with clear cellulose nitrate coatings on furniture of the Company of Master Craftsmen, but focuses also on the worldwide development and use of cellulose nitrate coatings on wood surfaces. The first patents in this field, as well as published recipes are compared with results of material analyses. The study includes the comparison of the MFA furniture with parts from the bedroom set in other collections, with an emphasis on the analysis of coatings and their changes in appearance with age. Types of damage and their causes are investigated. Different ways of consolidating, loss compensation and saturation of the coating were tested. Limits to the known treatment solutions are pointed out. As part of the project, primary research was conducted on the history of the Company of Master Craftsmen. This research offered concrete information, such as identifying the manufacturing date of the furniture as 1926 or shortly after, as well as providing a context in which this furniture was created. |
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