by Andrea Daley, founder of the AOR&CCA, Association of Restorers and Council of Certified Artists
To begin the process of restoration, an item needs to be placed in one of the following categories to give it the proper direction. Of course, the final decision lies with the owner and his/her wishes would overrule any formal guidelines.
Historical (Items of museum value)
Non-historical (Items of aesthetic value)
While most pieces fall into the second category, the following definitions may help determine what to do with a piece:
If an item has been established as having historical value, then it is recommended that a conservation method be applied. Keeping in mind the above definitions, whatever the article is, a restorer would then only perform the procedures necessary to preserve, while not causing further damage to the piece.
Examples of these are the items seen in museums. If there is old pottery or porcelain on display and it has been cracked, most likely the restoration will be quite visible. Dissolvable adhesives and soft clay fillers are used to only maintain the shape or appearance of the article. If the item is wood, then in most cases the finish is left alone and only the structure is preserved by using the same adhesives that were originally used, as well as using a piece of wood the same age to restore missing parts.
Some Oriental restorers use gold to fill in the cracks or chips on a damaged item. They respect an item for its existing condition and prefer not to conceal the damage. Master oil paintings are treated with exceptional care and nothing should be used that is not reversible. Any painting or paperwork with great value needs to be brought to a conservator for the correct procedures for restoration. An amateur can cause damage that may be permanent and impossible for even the best conservator to reverse. Removing an old patina on a metal item such as a bronze, may bring the value down. Using the incorrect chemicals on brass for cleaning may cause it to tarnish more quickly.
One should establish the historical value of an item before proceeding with restoration of any sort. Choosing the non-historical type of restoration due to either sentimental or monetary reasons may involve a process of performing more damage to the item so it can be restored to its former aesthetic state. For example, when fine porcelain has been glued, the seams may need to be leveled to make an invisible repair. The process of filling/sanding/filling/sanding until completely smooth, may take some of the original finish, design, paint strokes, paint and glaze away. Then the skilled artist, with the use of an airbrush, begins to recreate and simulate the design, painting and paint strokes, while achieving the depth of the glaze and finish. Further steps are then applied to attain the finish of the glaze, either flat, satin, gloss or a combination, so it blends in with its surroundings.
Before any restoration is begun, the first step is to categorize. After this initial direction is agreed upon, the next step is to thoroughly clean. Then a detailed inspection report that gives the following: 1. Documentation of the items current condition, 2. List the materials that will be used in the restoration process and 3. List the recommended follow-up care. The restoration work becomes part of the item's history. We need to encourage the owner to carry this information with the item so prevailing care can be given and also so that the next restorer knows what has been done if further restoration is warranted at a latter time.
The Academy of Restoration, West Palm Beach, Fl, has continuous classes on all topics of restoration.