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

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decipher or read/recognise results.
The applications for such technology in Australia would be most helpful to
solving complex problems, though in commercial practice it would have to be on a contracted basis.
x-ray fluorescence spectroscopy (XRF)
scanning electron microscopy (SEM) with energy
dispersive analysis (EDS)
gas chromatography–Mass spectrometry (GC–MS)
Pr<strong>of</strong>essor Richard Wolbers, Dr Susan Buck <strong>and</strong> Peggy Olley <strong>of</strong> the Art <strong>Conservation</strong> Department <strong>of</strong>fered much
assistance throughout my visit. Susan is an expert on pigment identification <strong>and</strong> microscopy. Much analysis <strong>and</strong>
identification can be completed under optical magnification <strong>and</strong> via transmission <strong>of</strong> light through various filters. All
materials fluoresce light differently <strong>and</strong> a trained eye can identify a given material from the fluorescing colour. Susan
operates a private practice as well as lecturing <strong>and</strong> has developed a niche market travelling internationally to
conduct sample tests on pigments <strong>and</strong> materials from heritage sites. Currently she is involved with the analysis <strong>of</strong>
materials from the Forbidden Temple in Beijing China, which is a very interesting project. Susan expressed much
interest in the conservation I was undertaking <strong>and</strong> has <strong>of</strong>fered her assistance in any analysis that is required.
My time with Richard Wolblers went somewhat over my head even though he was trying hard to simplify matters for
me. Richard <strong>and</strong> I started out on discussing the practicality <strong>of</strong> varnish removal from furniture by adopting techniques
which he has developed for use on paintings. Richard uses selective techniques to swell <strong>and</strong> dissolve coatings
whilst not disturbing the original ground. To remove these additional inappropriate or degraded layers <strong>of</strong> finish
without disturbing the original ground layers(s) on furniture has been relatively impossible as most over coating
materials on furniture are less soluble than the underlying original surfaces we are trying to preserve. In picture
varnish removal this is not the case, the varnish layers are more soluble than the underlying oil paints. Unfortunately
this implies that much <strong>of</strong> the technological <strong>and</strong> scientific advancement in painting conservation cannot be directly
crossed over into furniture without heavy manipulation. Richard has developed techniques directly associated to
these problems which have revolutionized removal, however they do not apply in all circumstances.
We followed on the topic <strong>of</strong> clear coatings <strong>and</strong> Richard explained new methods he has developed in recent times for
the conservation <strong>and</strong> cleaning <strong>of</strong> marble, this process has huge implications for large object <strong>and</strong> sculpture
conservators who have to clean marble <strong>and</strong> stone fountains <strong>of</strong> rust etc. I would recommend anyone working in this
field to pursue Richards techniques for this application. Ultra-violet light stabilisers were also discussed at length