Conservation and Restoration of Clear Coatings on Furniture and ...

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Furniture workshop <strong>and</strong> classroom Analytical <strong>and</strong> chemical treatment lab 2nd year students, 100% female enrolment
Paintings lecturer Tannar Ruuben gave me a tour <strong>of</strong> the paintings laboratories with examples <strong>of</strong> the student’s
research on analytical work. The labs are well set up with up to date equipment <strong>and</strong> technology.
The furniture students were keen to hear about the type <strong>of</strong> work I do <strong>and</strong> the purpose <strong>of</strong> my visit. Thus I repeated a
similar presentation to that delivered at Buckinghamshire University.
Among the international furniture conservation fraternity there is much criticism <strong>of</strong> courses where students
concentrate heavily on surface treatments rather than learning about practical <strong>and</strong> structural cabinet work.
Commonly most educational facilities require a working knowledge <strong>and</strong> demonstrated practical ability <strong>of</strong> woodworking
prior to studying conservation. To learn both conservation <strong>and</strong> practical cabinet making in four years would
be impossible. Conservators graduating from an institution such as Evtek will have to perform more specialised
roles from the perceived furniture conservator/restorer. It is debatable which skill set should come first, though either
way a combination <strong>of</strong> both traditional woodworking <strong>and</strong> scientifically based surface treatments are desirable <strong>and</strong> from
my experience, those with passion <strong>and</strong> drive for their subject do invest <strong>and</strong> do become quite adequate in both areas
<strong>of</strong> furniture conservation. The one positive side to learning the treatment side first is that the treatments for
decorative surfaces are more transferable to objects or even paintings, giving the conservator broader scope rather
than just sticking with furniture. It also encourages people who may not be confident with plant machinery or power
tools to still explore the possibility <strong>of</strong> furniture conservation, thus creating specialisms within the furniture
conservation field itself. In a museum environment it is already true that specialism occurs. As surface treatments
become more scientific <strong>and</strong> complex, they become intangible for the more traditionally trained conservator/restorer,
thus perhaps the best outcome is that we do have specialist furniture conservators who can work together for
ultimate outcomes.
e) Private Workshop <strong>of</strong> Annika Bertlin, furniture conservator, Helsinki Finl<strong>and</strong>
Annika was my main contact in Helsinki. She was instrumental in organising my itinerary, visit to Tikkurila <strong>and</strong> the
Evtek University. She also acted as my translator when required. Discussion with Annika on all conservation issues
was mutually beneficial as our businesses <strong>and</strong> pr<strong>of</strong>essional circumstances are in very similar predicaments. Like
Australia, the Finnish institutions don’t employ furniture conservators. Out <strong>of</strong> necessity Annika, like myself, operates