Arts & Crafts Restorer

Coat check

2012-01-26T15:59:00.000-08:00

I recently went to an auction where the finish on an item was described as being “overcoated.” It looked just fine to me. The color was uniform and appeared to be in good shape. How can you tell if a piece has been overcoated? –Casey, Woonsocket, R.I.

An overcoated finish means the original finish is intact and has been recoated. Depending on the type of finish used, this can be easy or difficult to spot—you will usually need to combine several methods of identification to make your determination.

On some overcoats, a dark varnish was used. These treatments brought life back to old, worn finishes, and were very popular years ago. These are also the easiest to spot because of their dark, muddy color and sheen. (Overcoats in general are much shinier than the original finishes.)

This doesn’t mean that when a finish is shiny it is overcoated—a good original finish with a few coats of wax on it will also be shiny. We must look for other signs of recoating, such as a buildup of finish or drips underneath chair stretchers (see photo). Brush marks that appear on the underside of tabletops where legs and aprons are attached are a dead giveaway. Usually you can see the darker brush marks on the underside, where the refinisher recoated the leg: wanting to do a good job, he really dabbed on the varnish when he reached the top of the leg, thus coating some of the underside of the tabletop. In my experience working with overcoated pieces, it’s very rare to find a fastidious job that has no brush marks. I have seen pieces that I thought were 100 percent original which had drips in a couple of places. I couldn’t ignore this red flag and found other signs that confirmed my suspicions.

In some overcoats, ordinary orange shellac was used. It was readily available in hardware stores and was generally cheaper than most varnishes. A shellac overcoat is harder to spot, since it isn’t dark like varnish and imparts only a slight tint to the finish. Sloppy brush marks are a good indicator, since color alone cannot be relied on to make an accurate assessment.

Factory finishes were smoothed and waxed prior to completion. When overcoats are applied, there is a time before drying when the finish is tacky and dust particles in the air can settle on the surface. When the finish hardens, these particles adhere to the surface. You can feel this roughness with your finger, and if you examine the finish closely in sunlight or strong artificial light, you can actually see the dust particles.

Peg out

2012-01-26T15:58:00.000-08:00

The dowel pegs on the legs of my lamp table are protruding a little. Does this mean they are loose and need to be glued? –Ken, Ithaca, N.Y.

Seasonal changes cause wood to expand and contract. It is not necessary to do anything. The dowels will not loosen enough to cause any structural failure of the joint. The dowels will probably shrink in the heating season, when the humidity is lower. Don’t try tapping in the protruding dowel, or you will have a depression in the dowel hole when the dowel shrinks.

You’ll see a difference in color around the circumference of the dowel when it’s protruding. If this bothers you, you can darken the area with a fine artist’s brush and some stain, or a brown ultra fine point Sharpie marker.

Hiding dark marks

2012-01-26T15:57:00.000-08:00

We bought an old oak desk with banks of drawers on either side. Originally they must have had bail pulls attached to a backplate which left dark impressions on the wood. We’ve replaced the original pulls with nice reproduction brass ones. The problem is we can still see the dark lines of the backplate from the original hardware. Is there a way to hide these dark lines without having to sand out the whole drawer face? We would like to have handles without a backplate so we can see more wood on the drawer face. –Evelyn, Golden, Colo.

Scratches or marks that are lighter than the surrounding finish are easily darkened with solvent-based furniture touch-up markers, which use a transparent stain. To make a dark mark lighter, however, requires a heavier pigment than you’ll find in these markers. I recommend using a yellow ocher or burnt umber paint marker, which you can find in an art supply store. (The exact shade will depend on the color of your oak.) Use the tip of the paint marker to dab on the color in small adjacent dots, rather than a continuous line. This will give you more control and will prevent you from applying too much pigment on top of the line. If the pigment is lighter than the surrounding oak after it’s dried, use a clear or amber shellac to slightly darken it.

Basket case

2011-10-18T12:21:00.000-07:00

I have a slatted Gustav Stickley wastebasket. The bottom of a slat has broken off and is missing. I was going to replace the slat, but the Craftsman Workshops decal is on the back of the remaining slat. What would be the best way to make this repair? –Vince, Poughkeepsie, N.Y.

This is a difficult repair. In order to replace the missing part, the slat will need to be removed, and the rivets used to fasten the slats will have to be taken out. The ends of the rivets are peened or hammered over holes in a circular steel band on the inside of the basket. Grinding or drilling the rivets to remove them will shorten their length, preventing them from being reused. New rivets will be needed to complete this repair.

After removing the slat, cut the broken end at about a 30-degree angle. This provides more glue surface when the replacement piece is attached and will help hide the seam where the two pieces come together. The replacement piece needs to be matched as closely as possible in the vertical grain lines as well as the flake (figure) patterns of the original slat. These slats are slightly curved on both sides, so the replacement part needs to be shaped to match, and the end has to be cut to match the angle of the original. A dado (groove) has to be made on the inside of the replacement part where it attaches to the bottom edge of the basket.

After shaping and fitting the part, with the rivets installed to assure that everything lines up, it’s best to finish the replacement part, then glue it in. Be very careful peening over the rivets—especially the lower one, since it’s near the glue joint.

Wax on

2011-10-17T11:39:00.001-07:00

I found an old Mission oak armchair and the finish is in pretty bad shape. Some of it has flaked off down to the bare wood. The color is fairly uniform except where it’s worn. I would like to preserve what’s left using only wax. Should I use dark wax? –Sarah, Albuquerque, N.M.

You can use a dark wax to impart a little color to the finish. But I would not use pigmented wax on the areas where the finish is worn to the wood, as the pigments in the dark wax will, in effect, stain the wood.

I suggest very carefully cleaning the surfaces with mineral spirits on a soft cloth, being very cautious on the areas where the finish has flaked off. The wet mineral spirits on the wood will give you a good idea as to what the color will look like after waxing.

Apply two or three coats of clear or amber paste wax. Let each coat dry, then buff with a soft cloth. The idea is to form a barrier with multiple coats of wax, especially in the areas where the finish is gone. At this point the dark wax can be applied. Multiple coats may be added in areas where the color is lighter.

Loose screws

2011-10-17T11:38:00.001-07:00

The screws on the hinges of my bookcase doors are loose. The holes are larger than the screws. Can I use wood filler to make the screws fit? –Dean, Mount Lebanon, Pa.

Wood filler is not the best thing to use. It’s not strong enough to hold the screws in place. Epoxy putty, which comes in a rolled stick and is kneaded like dough to mix the two components of the epoxy, will dry rock hard and
is stronger than the wood.

Knead a small piece of putty and roll it in lengths to fit inside the screw hole. Place a couple drops of instant glue in the hole before the putty is inserted to fasten it to the wood and to prevent any slipping once the screws are tightened. Pack the putty in tight using a small nail or similar object; you have 5 to 10 minutes to work the putty before it hardens.

Insert the screws before the putty sets; the threads will be impressed into the hardening putty, providing excellent holding power. When the screws are about 1/16 inch from the surface, carefully remove them. Let the putty dry about an hour and install the hinges and door.

A simpler method to tighten screws involves a toothpick. Cut about ⅜ inch off the end of a round toothpick and discard. Insert the thicker end into the hole, mark where it’s flush with the top of the hole, and cut. Before reinserting the toothpick, put some glue on it to hold it in place, then promptly install the hinge with screws. Depending on how wide the holes are, you may need more than one toothpick to make the screw fit tight.

Finishing touches

2011-10-17T11:37:00.000-07:00

Kitchen Tune-Up of Newton, Mass.

We moved into an Arts and Crafts home and would like to refinish the newer oak cabinets in the kitchen. Is there a way to put a decent finish over the old one without stripping it first? Can you recommend some finishes? –Harold, St. Louis, Mo.

There is a way to refinish cabinets without having to strip off the old finish, but the condition of the old finish is important. Is the surface cracked or peeling, or does it simply look dirty and dull?

Cracking and peeling finishes should generally be removed or lightly sanded before refinishing. Mark and remove the cabinet doors and lay them on a flat surface. To take off oils and dirt, apply mineral spirits with a paper towel. You may need to use a green scrubby pad on stubborn areas. Keep in mind that the abrasive pad or steel wool will remove a lot of material very quickly. You do not want to abrade the finish down to bare wood, so light hand pressure on the pad is all you need. Mineral spirits used in the cleaning process may soften the old finish somewhat, so let the surface dry about an hour before proceeding.

Now that the old surface is clean, it needs to be abraded so the new finish will adhere better. This is a critical step because the new finish relies on mechanical bonding for good adhesion. Scuff sand with 320-grit sandpaper, using light hand pressure and rubbing with the grain. (000 steel wool works well on curved surfaces.) The scuff sanding will smooth the old finish if it’s rough, at the same time abrading the smoother low spots. You’ve scuffed enough when the sheen of the old finish is uniformly dull in appearance.

After scuffing, carefully remove all dust with a Shop-Vac, then apply two coats of finish using a good-quality brush. There are several types of finish to choose from: oil-based polyurethane, water-based polyurethane, or lacquer. Oil-based polyurethane is strong and brushes well, but needs six to eight hours to dry between coats. It offgases during the drying process and continues long after it’s dry; the smell isn’t very pleasant, either.

Water-based polyurethanes are as strong as oil-based ones, are nontoxic, have very little odor, and dry in one to two hours, depending on the product used. Lacquer-based products can only be used over other lacquer-based products. They dry quickly and chemically bond to the previous coat, but are toxic, not as strong as other types of finishes, and do not brush well.

Be sure to scuff off the shine between coats, using sandpaper only for water-based finishes (steel wool can leave traces of metal which will rust). Use steel wool only on the last coat as a final rub.

Niedecken in need

2011-07-25T06:26:00.002-07:00

I just acquired a table from the Minnesota Phonograph Company showroom designed by Purcell & Elmslie. The auction house didn’t know the table’s origin, but my research suggests it was designed by George Mann Niedecken. The table needs some repairs; the finish is not original and some trim is missing. Is it appropriate to restore such a piece or should it remain in its current state to protect its value? A chair from this room sold for $18,000 at Christie’s and I don’t want to make a mistake. –Perry, Fort Worth, Texas

This is a very interesting piece. My first impression was that it looked like a Frank Lloyd Wright design. I’m glad you did some research and determined it was attributed to Niedecken. The question of whether to restore a piece or leave it alone is sometimes difficult to decide. From your description, it may need substantial restoration. Replacing some trim may be minor, depending on how much is missing and the condition of it. Looking at the photos, I couldn’t confirm your assertion that the finish is not original. Did the auctioneer say it wasn’t original? Are there signs of an overcoat?

I wouldn’t want you to be fooled by someone offering an uneducated guess—you need to bring it to someone who can verify its originality.

Important pieces—as this may turn out to be—are sometimes best left alone. At this point it has a certain value. If you do the work and it turns out well, the value will generally increase. (If the piece had been painted, removing the paint would certainly increase its marketability.) After making a detailed assessment of the work needed, contact an auction house or dealer experienced with these types of pieces to determine the value based on its current condition, and ask how much they think it would fetch if it was restored. If you are keeping it for your collection, can you live with it the way it is? If you’re preparing to sell it, what do you need to do to bring the best price, and is all the potential hassle worth it?

You’re smart to ask questions. If you persevere, I’m sure you will benefit by it.

Sunblock for furniture?

2011-07-25T06:26:00.001-07:00

I’m refinishing an antique desk that was stripped. We plan on putting it in our sunroom. I’m concerned about the sunlight fading the color. Can you recommend a finish that will protect it from fading? –Cathy, Sioux City, Iowa

Direct sunlight will fade most finishes. The best you can hope to do is to slow down this process. There are things you can do to achieve this.

You can use a finish that will block ultraviolet light. It’s the UV component in sunlight that fades finishes, especially red tones. Marine spar varnish offers decent UV protection, but it is a little difficult to work with. Orange shellac will also block UV rays, and is much easier to work with and dries much faster than spar varnish. Multiple coats will give more protection.

Try applying UV-blocking film to some or all of your windows. These are available in varying degrees of protection. Generally, the darker the film, the higher the protection. (But don’t go too dark, or you’ll defeat the purpose of your sunroom.) There are companies that will come to your home and install these films, depending on where you live. You can also purchase the material and apply it yourself, but it’s not a simple task.

Keep in mind that items on desktops, such as blotters, will block all the sunlight. Wood left uncovered will fade faster.

Break even

2011-07-25T06:26:00.000-07:00

My side chair’s bottom stretcher broke in the middle. The ends of the stretcher are doweled into the legs. Is it necessary to remove the whole stretcher to repair the break? –Phil, Lenox, Mass.

Removing the dowels from the legs to free the stretcher is hard to do. If the broken parts fit together well and the rest of the chair is tight, I would just glue the break. Dry fit the broken part and apply a padded clamp to the front and back of the break, and the top and bottom of the break (since the glue will probably cause the two pieces of wood to slip).

If the two sides of the stretcher fit together well, you’re ready to glue. Remove the clamps, apply the glue, then tighten the clamps until glue squeezes out. Wipe off the excess glue to make sure the break hasn’t slipped, then tighten all the way. More glue will squeeze out and should be wiped off. Run your finger across the break to assure the two pieces are flush. If so, then set aside to dry. You may have to touch up the color where the break was.

Spare The Wax

2011-06-15T14:15:00.000-07:00

What product do you recommend for biweekly cleaning of a Gustav Stickley table in its original condition? –Kate, Highland, N.Y.

I would recommend just dusting the table with a dry, soft cloth or feather duster. There is no need to wax it that often. A coat of paste wax can be applied every few months or more, depending on how much use the table gets. Paste wax will form a barrier and make it easier to remove the dust. It doesn’t matter what brand of paste wax you use (Minwax is good), as long as you use a paste wax and not a spray wax or oil

Trying Dutchman

2011-06-15T08:58:00.000-07:00

During a move, a piece of wood about an inch long and ½ inch wide broke off the bottom corner of a chair leg. The piece has since gone missing, and I would like to replace it. How hard is it to splice a piece of wood in, or should I just plug the gap with wood filler? –Harris, Fairfax, Va.

Splicing in a piece of wood (called a Dutchman) can be fairly easy or quite difficult depending on the size and location. A one-inch repair on the bottom of a leg might be easy enough for you to do. A piece of wood on a repair this size would look better than repairing it with wood filler. Filler should only be used for small repairs like nail holes, tear-outs and gouges.

To install your Dutchman, clean out the recess using a sharp chisel, making the recess square to accept the piece of replacement wood. A tight fit on all seams is important to the look and strength of the repair. Next, find a piece of scrap wood that matches the grain lines. If one side of the leg has quartersawn flakes, the Dutchman should have similar flake patterns along with similar grain lines. It’s possible to match grain lines almost perfectly by finding the exact pattern somewhere on the scrap of wood. Once you locate a good match on the scrap, draw the size of the part you want to cut out. Cut out the part a little larger than the prepared area on the leg—about 1/16 inch proud on all sides. These will be sanded flush later.

Dry-fit the Dutchman to make sure the seams are tight and the grain lines match up, then mask the surrounding area to prevent glue squeeze-out from getting on the finish. Using either hide glue or carpenter’s glue, glue and clamp the Dutchman to the leg, removing excess adhesive with a Q-tip. After the glue dries, you are ready to level the spliced-in piece to the surrounding surface using a sanding block. (If you’re extremely careful, you can start the job with a belt sander, then finish it off with a sanding block.) Try to take off as little of the surrounding wood as possible—no more than ⅛ inch deep—then run your finger along the seams to make sure there are no high spots. Use stain or alcohol-soluble aniline dye to match the color of the repair to the leg. Finish with a couple coats of shellac.

How To Handle A Sagging Settle

2011-04-19T09:00:00.000-07:00

I have a long Arts and Crafts settle. A few of the back slats have slipped out of the top rail. Is there a way to fix this without taking the settle apart? –Carl, Berkeley, Calif.

You say your settle is long. Long, unsupported boards—like the rail holding up your slats—have a tendency to sag. Another contributing factor is the type of wood used as the lower horizontal rail. Commonly these were made from plain-sawn boards rather than the quartersawn boards on the front rail. Quartersawn boards are dimensionally more stable than plain-sawn boards. That’s not to say quartersawn boards will not sag— they sometimes do on long lengths. I would center three bar clamps between the top and bottom rails. Assuming that the clamping raises the slats so there are no gaps, the next task is to secure them so they do not drop down again. The top and bottom rails have to be removed from the back posts to remove the slats for gluing. The front rail also needs to be removed from the front posts. The front and rear posts along with the side slats will stay as one unit and do not have to be disassembled unless they are sagging.

After removing the back slats and rails, lay the whole assembly on a flat surface, placing a piece of wood under the slats so their tenons remain flush with the mortises in the rails. Remove the old glue from the tenons and mortises, then use blue tape to mask off the areas that glue could drip on and swab 24-hour epoxy into the mortises. (Don’t use carpenter’s glue or five-minute epoxy, as you will need a longer working time and better strength.) Install the slats one by one into the top rail, then insert them all simultaneously into the bottom rail. (The shim under the slats will assure good alignment.) After all the slats are in, clamp the top and bottom rails together, making sure the ends of the rails are parallel to each other.

To assure the slats will not slip again, lock them in place with brads, using a pneumatic brad nailer. Use two or three brads per slat (where needed), installed into the back of the rails. The holes from the brad nailer will have to be filled, or adjust the pressure so the brad heads sit flush with the surface, then use a fine-tip marker to color the nail heads.

If, after reading all of this, you discover that the rails are pinned into the posts and you are not willing or able to try and pull the pins out, you can leave the piece assembled, clamp the top and bottom rails until the gaps are gone, and build a support from a 2-by-4 that runs from the center of the lower rail to the floor. This support will push up the lower rail and may keep the slats in place.

I would clamp the rails first, place the support in position, then release the clamps to see if the sag is lessened. If the sag is substantially reduced and all the legs are sitting flat on the floor, reclamp, then nail the tenons into the top rail following the instructions above.

This second solution is a quick fix with little guarantee it will last. I believe you’ll get more permanent results with the disassemble-and-glue method, bearing in mind that nailed-in slats will be much more difficult to remove without damage.

Stripping Stickley

2011-03-29T08:39:00.000-07:00

I recently found this funny little turned-leg table, and was rather surprised to learn it is, in fact, a Stickley. It was left in an abandoned room in a huge old building where my photo studio is located. It has linoleum stuck to the top and is painted gray, with the exception of the underside of the top. Most of the label is still intact. It’s a bit hammered but very solid, with linoleum adhesive over the paint on the top. Can you tell me the best route for refinishing it? –Kipp, New York, N.Y.

This is a later piece by Gustav Stickley. It has a conjoined signature with L. & J.G. Stickley (his brothers). I would start by using conventional paint stripper to remove the paint on the base. Carefully scraping the paint down to the original surface finish is another possibility. There is no guarantee you can do this effectively. If the original shellac was worn down to the wood on heavy-use areas, then painted over, the paint adhered to the wood. When the paint is removed, the bare wood will be exposed. The top is another problem. Linoleum adhesive generally has to be removed mechanically (with a belt sander and scraping). If you use a solvent such as lacquer thinner to soften the adhesive, you run the risk of the melted adhesive leaching into the pores of the wood. Try applying solvent to a small spot first before doing the entire surface, and be prepared to blot the solvent before it dissolves into the pores of the wood. Belt-sanding this thick layer can also be problematic, as the heat generated by sanding can melt the adhesive into the wood. I would try scraping off the adhesive as much as you can, being careful not to gouge the wood surface with the scraper, then using a solvent to remove the rest. It’s possible the linoleum was applied to cover up burns or water stains. Unfortunately, you won’t find out until after you’ve done all this hard work. Personally, I think it’s worth the risk.

Bleaching Out Stains

2011-01-25T09:10:00.000-08:00

I have an L. & J.G. Stickley oak lamp table with several black water stains and I’d like to bleach them out and rejuvenate the top of the table. I’m not a complete novice, but I’ve never used oxalic acid to take out stains. How do I remove what’s left of the finish so I can bleach out these stains and restore the finish to its original appearance? The shellac is worn pretty thin, because I’ve even left a ring by accident. –John, El Paso, Texas

How good is the finish on the tabletop? Is there enough shellac left to work with?
Are there dry spots where the finish is worn and the color is lighter? Saving what’s
left of the old shellac is very important. Assuming that you just want to bleach the
black stains, leaving the surrounding finish intact, I would first dissolve the oxalic crystals in warm water until a small amount of residue is left on the bottom of the glass container. When the crystals won’t dissolve any further, the solution is saturated. Add a little more water at this point. For the bleaching to work best, remove the remaining shellac finish on the stain using a Q-tip moistened in denatured alcohol. After it dries, lightly sand the black mark to aid penetration, then apply your oxalic acid solution in direct sun using a Q-tip. Repeated applications are necessary. Oxalic acid may not remove a very dark water mark, in which case try household bleach, following the same procedure, again working in direct sun. Make sure you neutralize the bleach with acetic acid (white vinegar) after you’re done. The shellac needs to be built up where it has been removed. A small artist’s brush works well. Apply a thin coat of shellac, let it dry, and carefully rub with 0000 steel wool. Apply more coats to build the shellac to the level of the surrounding finish. I’ve been most successful bleaching stains when I belt-sanded the entire surface down to the raw wood first, but I only do this when the finish is new and needs to be removed anyway. Don’t try this if you want to save the original finish. You could also leave the stains and apply several coats of paste wax to protect what thin finish is left.

Tape Residue? Skip the Peanut Butter!

2011-01-25T07:01:00.000-08:00

I purchased a graceful old rocking chair at an estate sale recently. On one of the back splats there is an old piece of masking tape that has been there so long the adhesive part of the tape has disappeared. What stayed behind has become hard to remove. The original paint is still intact, and appears to be milk paint. I have tried Goo Gone, naphtha, and even peanut butter. Nothing seems to work. I don’t want to destroy the original finish. Any suggestions? –Mark, Lockport, N.Y.

I’ve used mineral spirits to remove masking tape adhesive, but your first two methods should have done the trick. (I’m not sure about the peanut butter.) The naphtha works like mineral spirits, in that it softens the tape residue so it can be easily wiped off. Sometimes when tape is pulled off, some of the paint goes with it. Is it possible that what you’re assuming is the residue is actually missing paint? If you look very closely you can determine whether there’s a buildup on the surface of the milk paint or if there is a depression in the paint layers indicating a loss of paint. If it’s the latter, the mark will be exactly the size of the tape. If the residue is in fact a buildup, it’s possible the solvent wasn’t left on long enough. I would use a Q-tip soaked in mineral spirits or paint thinner and apply it to the spot, keeping it wet for a few minutes. Be careful that the solvent does not soften the paint. (Test a spot underneath first.) You may see the residue loosen when you rub the spot gently; it may not all come off at once. Apply more solvent and continue this technique until all the residue is removed, being careful not to remove the paint at the same time. Stop if this happens, let the area dry for 15 minutes or so, then continue the process carefully. Good luck.

Restoring Roycroft

2011-01-15T09:04:00.000-08:00

I was given a Roycroft cockfighting or library chair (I’m not sure what it’s actually called) and am interested in having it restored. There is a bit of damage on one of the main vertical pieces. Thanks for any advice you may be able to lend. –Patrick, San Antonio, Texas

Your chair is known as the Roycroft Straddle Chair. It was made around 1906, and was designed to be sat in backwards, with arms resting on the top of the chair. “It induces sound sleep, an easy conscience and a good appetite,” claimed the Roycroft catalog, which offered the piece for $12.50. One sold at auction for $2,000 in 2004; it had replaced leather and the original finish. From your photos it appears someone spliced in a piece of wood and used filler around the edges. (Not a very good job.) There seems to be a crack on the other post, and the leather appears to have been replaced. I can’t tell if the finish is original. The repair would require removing the top horizontal piece and replacing the spliced-in section with a piece of oak that matches the rest of the chair. The repair would have to be matched to the finish. If the finish is original, it may need to be restored. If new, it can be removed and restored using the original type of treatment. The chair may need other work that I cannot detect from the photos, but based on what I see, a quality restoration could cost you a few hundred dollars.

Split Ends

2010-10-20T11:28:00.000-07:00

I have noticed that the seams on the boards on top of our sideboard are opening on the ends. They seem to be tight everywhere else. Do you think I should glue the seams where they are coming apart? –Eric, Sioux City, Iowa

I would not recommend gluing seams that separate on the ends of boards. To obtain a good bond, the old glue needs to be thoroughly removed, and there is no effective way to remove the old hide glue there—especially from the pores. And part of the strength of a glued seam depends on the glue absorbing into the pores of the wood. The open seams will be noticeable when the relative humidity is low and the wood shrinks. When humidity is high, the wood swells and the seams tighten. Even if you could clean the separations, putting new glue in would be quite a task. Clamping would not make the seams any tighter, so you would effectively be using the glue as a filler. My best advice is to just leave it alone. If the boards become loose or break along the seam, then it will be necessary to re-glue the whole seam. Gluing the open ends will do very little to halt the deterioration of the remaining old glue.

Aging Wood

2010-10-20T11:27:00.002-07:00

I recently convinced an architecture client to “age” her new Doug fir ceiling. She does not want to stain the wood; she just wants it browner and older looking. I found some tannic acid, but I can’t remember the proportions. I would suggest aniline dyes to her, but I can’t remember much about ordering them, etc. I don’t want the surface to look shiny, but rather like old wood. Should it be waxed or sealed afterward, or left as is? (She doesn’t mind it darkening over time.) –Sandy, Montpelier, Vt.

Tannic acid will color the wood a light brown depending on your mix ratios. Three teaspoons per cup of water is a good ratio to start with. Lighter or darker shades can be achieved by adding or reducing the water.

I’m not sure tannic acid would be my first choice, however. You could get the same results using a walnut standard brown water-soluble aniline dye. Mix 1 ounce powder to 16 ounces water for a concentrated solution, then dilute this mix with water, maintaining at least four to six parts water to one part dye. You didn’t mention whether the Doug fir was vertical grain (VG) or rift-cut grain; VG fir will darken more than rift-cut using the same dye. As always, use cutoffs from the ceiling stock to develop your colors. It’s easier and more efficient to finish the boards on sawhorses before installation. If, however, the ceiling is already installed, the best and most even way to apply the finish is with an HVLP (high volume, low pressure) spray gun.

When dry, the dye will produce a dead flat sheen. I think this is the look you are trying for. I’m a little uncomfortable leaving any wood without a topcoat; the wood is subject to drying out and checking, as well as more expansion and contraction with seasonal changes. It can also absorb dirt and cooking grease, darkening the color. A topcoat I would recommend is dead flat nitrocellulose lacquer. Spray a coat over the dye, scuff with 320-grit sandpaper, and apply a second coat. You’ll get a dead flat sheen and a smooth finish that dirt won’t adhere to. Using wax may impart a sheen, and it would have to be reapplied forever. The last thing you want to do to a ceiling is to maintain it.

I recommend making several samples for your client using tannin and dyes, unfinished and topcoated. You can get tannin and dyes from oldemill.com; lacquer and other finishing supplies from hoodfinishing.com.

Sit Tight

2010-10-20T11:27:00.001-07:00

We have a set of period L. & J.G. Stickley dining chairs that have pullout leather seat cushions. The cushions were redone and fit very tightly—sometimes so tight I can’t pull them out. The chairs’ joints have become loose and need to be re-glued. Do you think the seats fitting so tightly contributed to this? Can this happen again after the chairs are re-glued? –Gregg, Kenosha, Wis.

I’ve encountered this problem before with chairs that have been reupholstered. The original leather on period Arts and Crafts chairs was generally thinner than the replacement leather of today. The original seats had a little wiggle room, allowing for seasonal changes in the wood. The tight-fitting reupholstered seats, as well as the old hide glue giving out, probably contributed to the chairs becoming loose. Re-gluing the chairs using new glue will make them stronger, but the tight-fitting seat cushions will still be applying stress to the joints. I would recommend reducing the size of the seat cushion so it does not fit so tightly. Perhaps the leather can be refastened around the cushion in a different way, so it has a little wiggle room. Check with an upholsterer to see if this can be done. As to the chairs becoming loose again: yes, it’s possible, depending on how often they’re used. Ten years ago I re-glued a set of chairs with very tight-fitting reupholstered seats, and they still are tight.

Finishing Touches

2010-10-20T11:27:00.000-07:00

I built a version of an Onondaga lamp table from a photograph and some basic dimensions I found on the Internet. I used mahogany because I had that on hand. But I am absolutely at a loss as to how and what type of finish to put on it that would be historically proper. Can you offer some suggestions as to the color of stain or dye, the filler and the finish coat? –Dave, Hammond, Ind.

From your photo it looks like you’ve built a very nice version of a Stickley table. Historically, Stickley used shellac. His version added “banana liquid” (amylacetate) to the shellac to act as a plasticizer, allowing the film finish to expand and contract with seasonal changes. Before applying the shellac, he filled pores with a paste wood filler. The first coat of shellac was allowed to dry, then scuff sanded. A second coat was applied to finish the piece.

Stickley fumed the wood to give it color, using 26 percent ammonia. He put the
sanded piece in an airtight tent with small containers of ammonia on the bottom. The ammonia fumes reacted with the tannic acid present in oak; the longer the wood was left in the tent, the darker the color. He used stains along with fuming for his black (ebonized) finishes.

Period mahogany pieces got their redbrown color from the hue of the wood and the shellac finish. I’m not sure if Stickley fumed his mahogany. You can go through the process of fuming, grain filler and shellac, but it’s a time-consuming process and requires some skill. Another way to get a period finish would be to stain the wood, skip the grain filler and finish with shellac. Brush on a coat of shellac, let dry, and scuff lightly (using 320-grit sandpaper or 000 steel wool) to smooth the first coat. Wipe off dust and apply a second coat. After it dries, buff with 0000 steel wool to reduce the sheen and further smooth the finish, followed by a coat of paste wax. Make some test samples beforehand on scrap mahogany using various stains, apply the topcoats of shellac, and see which one you like best. Compare your samples to a period piece if you can find one.

I make my own shellac using Siam Seedlac from oldemill.com. This shellac gives the best simulation of a period finish. Grind the shellac in a dedicated coffee grinder until the particles are reduced, then place in a glass container with two parts denatured or grain alcohol. Stir several times during the day to dissolve the shellac, let it set overnight, then strain out the impurities. I thin the strained solution with alcohol to get a good brushing consistency, and apply it using a high-quality brush (like one from Purdy). Siam Seedlac produces a great dark-brown color that closely resembles the old dark shellac. Good luck!

Grimy Gus

2010-07-20T08:20:00.000-07:00

I was fortunate to acquire a Gustav Stickley #962 serving table at a small auction in upstate New York for a few hundred dollars. Unfortunately, it was in absolutely horrible condition—it had been used as a metal lathe stand in a workshop! Do I attempt to repair the holes in the top, and if so, how? How do I duplicate the ebonized finish where it is missing? Lastly, much of the top is soaked with oil from the lathe. Any idea if shellac will stick to oily wood? Can I get any of the oil out or pre-treat it in some way?

Before you do any finishing, clean the existing surface with mineral spirits, allowing areas with paint splatters to soak a little longer. (Be careful, as the paint may have bonded with the old shellac and may take some of the finish with it.) If these areas need color use aniline dye mixed with alcohol. Wax the cleaned finish using paste wax squeezed through a light canvas material.

The top has multiple problems: The seams are split; there are deep gouges, tear outs and drill holes; it’s soaked with oil; and it’s water stained. The drill holes can be plugged with face-grain plugs made with a tapered plug cutter on a drill press. Carefully match the growth rings and flake pattern using an old scrap of quartersawn or new wood. No matter how close a match you get with your plugs, the outer diameter will show after finishing—but your ebonized finish means repairs will show less. The finish has to be sanded down to bare wood to make the plugs and filler smooth. Forget about saving any of the original finish on top.

Lacquer thinner can be used to dissolve and "float" out any oil in the wood. Repeated scrubbing and soaking will be necessary. The seams need to be glued. Stickley's early pieces were butt-joined (no tongue-and-groove joints). If, after you have cleaned off the old glue, the boards do not come together tightly to form a good joint, they may have to be jointed, which will result in a loss in dimension to the top. Depending on how the top is fastened to the case, this could be a problem. After gluing up the top, start sanding with 120 grit to remove all the scratches and to level the plugs and filler. You can use burn-in shellac-resin sticks to fill and color the gouges, although big imperfections will still show.

After doing the above repairs you will have an original top, but it might not look so good. An alternative is to replace the worst board or boards, or just replace the whole top with quartersawn white oak, keeping the original boards for the purist who buys the piece from you.

Now to the finish. The wood has to be well-sanded up to 180 grit. (The parts with oil stains may give you some trouble.) I would use a standard brown walnut aniline dye from Olde Mill mixed with a little black to reproduce the original ebonized finish. Mix a concentrated solution of 1 ounce powder to 16 ounces distilled water, experimenting with proportions of black to achieve the right shade. A second coat with a quick wipe may be necessary. One of the advantages of using water-soluble aniline dye is that it colors the flakes, simulating the chemical reaction that is produced with fuming. The dyes will turn out a little lighter on new wood. To give new wood a 100-year-old patina overnight, fume it with 26 percent ammonia for 12 to 24 hours; this will color the wood and "knock down" the flakes, so when dye is applied the color will come out closer to the original. You can also age the wood using a concentrated solution of sodium hydroxide (Drano crystals). Apply to the sanded wood using a brush. Let it almost dry. You will immediately see the wood turn dark. Neutralize the solution by drenching it with a garden hose until the water runs clear, then dry with a towel and let the piece dry overnight. This will raise the grain, which must be scuff-sanded using 180 or 220 grit, applying very light pressure at a bias to the grain. Apply the dye and let dry overnight.

To simulate the 100-year-old finish, apply unrefined Siam Seedlac shellac from Olde Mill, using a coffee grinder to reduce the shellac to small particles. Mix twice the volume of shellac with denatured alcohol or safer grain alcohol and add a flattening agent, otherwise it will be too shiny. The shellac will apply better if it’s thin. Good luck.

How To Strip Painted Furniture

2010-07-20T08:03:00.000-07:00

I found this painted Poppy table at a flea market. The bottom shelf has a separation with a very old repair, and the whole table has very loose joints. The most obvious problem is the fact that it's painted. What type of stripper would be best to use on this? Should I take the whole thing apart in order to facilitate the stripping and general tightening of the joinery?

The poppies are blooming! This is the second Gustav Stickley Poppy table a reader has found within the last few months. Based on the photos you sent, the paint appears to be latex because it has no sheen. This type of paint is difficult to remove with a chemical stripper because it does not bubble up like enamel paint, but sort of disintegrates, melting into the finish underneath. Paint that wrinkles when stripper is applied can sometimes be removed without much damage using a dull putty knife at the moment the paint loosens. Working one small area at a time, quickly wipe the surface under the paint with a wet cloth to prevent the stripper from ruining the underlying finish. A stripper that has methylene chloride (Dichloromethane) will work, and it is neutralized with water. (Apply the stripper to a small test spot on the lower shelf first using a Q-Tip.) There are less-toxic strippers available, such as a citrus-based product, but there’s no guarantee they will work on this type of paint.

Another way to remove the paint is with very careful scraping using a Stanley knife blade. Your success will depend on how much of the original shellac is under the paint, how thick it is, and if the paint has adhered to it. In areas where the shellac is worn thin, scraping may remove all of the finish. (The inside of the legs are potential trouble spots.) I have successfully scraped overcoats of varnish and paint down to the original shellac, but it is a very time-consuming process, and if you strip the table down to the wood, you will need to apply new coats of shellac. Depending on how much color was removed in the stripping process, you may also have to stain the wood before shellacking. It's easier to strip the table when it’s disassembled, but given the difficulty in getting it apart, you may not want to.

The wooden cleat and metal strap on the bottom shelf are not original and should be removed. The screw holes also need to be filled. The bottom shelf seams have probably split, hence the repair. My hope is that they didn't glue the seam but just installed the cleats to "join" the two boards together. If the seam wasn't glued, it has to be done now. Remove the cleats, separate the seams, and widen them enough to carefully scrape off the old hide glue. Before regluing, dry-clamp the boards to see that they fit. If you are satisfied that they will go together tight and level, then proceed. Glue the seams before stripping so the glue squeezeout won’t be a problem on the top surface. Carefully remove excess glue from the bottom surface after about 10 minutes of drying.

If you have experience repairing and restoring antique furniture, then give it a shot, but remember this is a rare and very valuable table. The more original or better the restoration, the more value the piece will retain. Latex is difficult to remove with a chemical stripper because it doesn't bubble up.

Seeing Spots

2010-04-20T11:12:00.000-07:00

I recently picked up a Limbert settee that needs some work. The original finish appears to be intact but suffers from some water spots. I read your terrific article on restoring a Stickley table top that had similar damage (Fall 2009) and will follow those steps if they are applicable to a Limbert piece, as well. What stain colors were used by Limbert? Was orange shellac a typical top coat for Limbert and, if so, what type do you prefer? Thanks for your time and excellent advice!

The techniques I described for removing water damage apply to all period pieces. Shellac was the common finish used in this period. Most of the Limbert pieces I’ve worked on have had a very dark brown or blackbrown color. To touch up the finish use alcohol-soluble aniline dye. I would try a dark walnut or standard brown mixed with a tiny bit of black if that is the color of your piece.

I make my own shellac using Siam Seedlac, which is unrefined (so it contains lots of impurities). I find this does the best job simulating the color of old, dark shellac. For your purposes, however, you can use the orange shellac found in most hardware stores. You can darken the orange shellac, if needed, by adding your mixture of aniline dye and alcohol to the shellac. Use a few drops of dye solution in ¼ cup of shellac. Don’t overdo it, as very little dye is needed to tint the shellac slightly darker. Good luck!

Keeping Checks in Check

2010-04-20T11:00:00.000-07:00

I have an American Revival piece whose wood is starting to crack on the surface. What is the best thing to put on the wood that is drying out? Thanks for any suggestions.

Do you live in an area that has low humidity? Have you recently started to use a wood stove for heating? What period of American Revival is the piece? 1820s? 1920s? How old is the finish? Are you experiencing the cracking on any other pieces? Does the cracking diminish in different seasons?

The checking of the wood could be due to certain factors or a combination of factors. Old, degraded finishes lack essential oils, making the surface crack and dry out, and leaving the wood vulnerable to damage. This, combined with low humidity or the piece being too near a heat source, could be the cause of the cracking. Is the cracking on all parts of the finish or just the top or sides? The outer surfaces of furniture usually have more finish on them than the undersides. This imbalance could cause moisture to move through the wood unevenly, causing the wood to dry out or the boards to warp.

A reversible barrier such as paste wax might help minimize the cracking. That would be a good start. Putting a humidifier in the room can also help. Let me know what you come up with so we can find a solution to this problem.

Top Secret

2010-04-20T10:50:00.000-07:00

The following question is from Bob Winter, the pioneering “Bungalow Bob” who lives in Ernest Batchelder’s own Pasadena bungalow and is the author of several books including Batchelder Tilemaker.

Around 1969 I picked up (for $25—ha, ha!) a Stickley table almost identical to the one pictured on page 79 of the Fall 2009 issue of Style 1900. The only difference is that mine has what seems to be the original leather top. This causes me to believe that maybe the wood top on the pictured table is a replacement and thus not much to be worried about. I may be wrong. My leather top may be a replacement but I don’t think so. It is tacked on with the same kind of tacks that Stickley used on his leather fittings. I have filled in the missing ones.

This model came with leather or wood tops. Stickley never put leather on a quartersawn oak top, so if the wood of the top is plainsawn oak or chestnut, then the leather is probably original to the piece. In any event, you have a nice table. Look on the top part of the legs or under the center part of the underside of the top for a signature or paper label.

Poppy Talk

2010-04-20T10:43:00.000-07:00

We just came across what we think is an authentic Gustav Stickley Poppy Table at an antiques mall in Atlanta. It is in need of some repair, and we wondered if you could authenticate it and give some advice on what path you would suggest for restoring it? It appears to be complete other than the underside braces. The top and shelf have separations that appear to have been glued poorly, but would be easy to get apart. The finish looks original but with some sticky “Old English” type of oil applied. We have done a fair bit of restoring and could do this, but since this table has the potential to be fairly valuable, we’re not sure if a professional may be the best route. We plan to keep it for the time being. Any suggestions?

It makes me smile when my readers come across a great find like this one. I’m 99.9 percent sure you have an original Gustav Stickley Poppy Table. One recently brought a record $176,500 at auction. From your photos, it appears the piece needs careful restoration. What’s good is that you think it has the original finish. (I cannot verify that until I actually see it.) One drawback is the thin stock it was made from—only 5-inch thick. Usually boards this thin—even quartersawn— have a tendancy to cup, and joining seams is very difficult. There was no tongue-and-groove or dowels used on this thin a stock. The missing cleat under the top is made from hard maple. The cleat on the bottom shelf is obviously added; the lower shelf never had one. The glue blocks that remain appear to be original. I have seen slight variations in the shape of the top on ones I’ve restored; I’m curious about yours.

Unless you are very skilled at restoration, I wouldn’t attempt it. From the looks of the photos, you could run into several difficulties. Ask yourself if your restoration or a professional’s will maintain the most value.

Can You Top This?

2010-03-30T06:54:00.000-07:00

I recently picked up this Gustav Stickley table (see above). It’s in good shape except for the top, which is missing its finish and has a few dark ring marks from glasses. There are scratches and it has a bit of separation of one of its boards. The legs show wear, the edges are no longer sharp. I like this table and plan on using it. How should I go about restoring it?

What a great find—this is a most desirable form of Gustav’s early work. It is very important to restore this piece correctly to keep the value. It appears from your photos that the base is in good shape, and can be restored fairly easily. The top is another matter because of the separation, and because there’s no vestige of the original finish.

If I were restoring this piece, I would remove the top (using pieces of masking tape to mark where the top fits to the posts, so it can be put back in the original position) and then sand out the scratches and water rings. (If sanding isn’t enough to remove the black marks, they will have to be bleached.)

When you remove the top, there’s a good possibility that one or more of the seams will come apart, because the hide glue used by Stickley’s craftsmen crystallizes after 30 years or so. The one seam you show in your photo seems to be tight on the ends and loose in the middle, making for a difficult repair, because the integrity of the seam needs to be kept—you can’t just separate the boards and start from scratch. With the two ends of the tongue-and-groove joint already tight, you’ll be limited in how much you can bring the two boards together in the center, so you’ll still have a gap in the middle after gluing—though that gap should be lessened somewhat by the “squeezeout” from the new glue. Clamping a round top is difficult and a jig would be necessary to assure the clamp exerts even pressure on the seam. Remember, the Gustav Stickley decal (located under the top) needs to be protected throughout this process.

When you‘re satisfied with your repairs, clean and wax the base and stain or dye the top to match, and finish in shellac. Good luck, and email me if you need more advice.

Dennis, I have a follow up question about the Stickley table. That seam sounds like a real problem. If I left it as is and refinished the top, would that seriously affect the value?

As for matching the color of the base, I think I’ll start with a base of Red Oak, then add Red Mahogany or Special Walnut over it. I will experiment on pieces of scrap first.

A seam that is not repaired should not affect the value by much. However, a refinished top will reduce the value. Just how much depends on how well the restoration is done. (A dealer specializing in Arts and Crafts furniture will be able to tell you more accurately how much value is lost.)

As for using red oak and red mahogany stains, these combinations will make the color too red. Experimenting on scrap wood is a good idea, but the scrap should be old quarter-sawn oak that when raw is approximately the same color as the sanded original top. New wood does not have the natural patination that occurs on antique pieces.

If I were doing this restoration, I would use water soluble analine dye available from www.oldemill.com. The color that best matches the red-brown of period Stickley pieces is Fumed Dark Oak. Mix 1 oz. of the powder to 16 ozs. of distilled water; apply with a bristle brush and wait till the dye starts to dry (but not too long). Wipe evenly with a flat, folded paper towel.

When the dye has dried overnight, apply a coat of orange shellac using a $12 Purdy brush (available at Home Depot). This single coat of brushed shellac will best simulate the thin original finish; more than one coat will make the finish too shiny. After several hours of drying, use a piece of 0000 steel wool to smooth the finish, always rubbing with the grain of the wood. Next, apply paste wax by enclosing a tablespoon or two of wax in an 8 x 8-inch piece of light canvas (duck cloth) or cheesecloth. Squeeze this “ball” to apply the wax to the top; this method applies just the right amount to the surface of the wood. Let the wax dry a few minutes, then buff with a clean cloth.

Clean the base of your table with mineral spirits on a paper towel. (Mineral spirits will clean off the dirt without dissolving the shellac. Don’t use denatured alcohol to clean the piece; this will remove the shellac finish.) Do any touchups that are necessary, and apply a coat of paste wax. You have just preserved the originality of the base.

The methods and materials I’ve described are a little harder than using something out of a can, but the results will be worth it. If you feel the job is above your level of experience, I would advise you to find a professional conservator or restorer. Good luck!

Cat Scratch Fever

2010-03-30T06:53:00.000-07:00

I have a round British Arts and Crafts table in polished mahogany. Unfortunately, my cats like to use it as a launch pad, so they have left some shallow parallel scratches from their back claws. I would like to fix/camouflage the scratches and then get a round glass top to protect the surface. Can you help?

You can lessen the appearance of the scratches by polishing your table with dark paste wax. This should make them go away, but if it doesn’t, try a little wood stain on a Q-Tip to color them in. As for the glass top—most glass suppliers can cut a piece of ¼-inch glass to order. You may want to ask for tempered glass, which is more expensive; it isn’t necessarily stronger, but is less hazardous, because if it breaks it will shatter into tiny pieces rather than sharp shards. The glass provider can also supply you with clear “bumpers” to provide an air space between the glass and the wood. This layer of air is important: it will allow heat to dissipate (for instance, from sunlight or from a hot drink set on the glass) and will prevent any movement of the glass from scratching the surface.

Kitchen Antiques

2010-03-30T06:52:00.000-07:00

At long last, we’re renovating the 1980s kitchen in our 1912 bungalow. We have some nice (though not museum quality) antiques I’m thinking of using there—a bookcase that would give some storage/display space, and an L. & J.G. Stickley table and chairs. Do you have any advice? Is there anything special I should do to protect the finish on these pieces? Would shelf paper be a good idea to keep cans or plates from scraping the bookcase shelves?

It’s a good suggestion to add an antique cabinet rather than a built-in—it will give a special aesthetic to the setting. Lining the shelves with paper should prevent scratching. If the finish is old and you’re using the piece near a sink or stove, you can add protection with a few coats of paste wax. If the piece has been refinished, adding a coat of polyurethane won’t hurt the value, and will give more protection from water or heat. (Polyurethane can be used over most existing finishes. Clean the old surface with mineral spirits to remove wax or dirt, then scuff with 220 sandpaper or 000 steel wool so the polyurethane can form a mechanical bond and adhere to the old finish. Apply one to three coats of the polyurethane; the more coats used, the more durable and waterproof the result will be.)

As for your antique table—by all means, go ahead and use it as it was originally intended. If the finish is original, just wax it; if not, I would polyurethane the top. As long as you use common sense (put trivets under hot dishes, and wipe up spills promptly) you’ll get great enjoyment from using these pieces every day.

Stains vs. Dyes

2010-03-30T06:49:00.000-07:00

Some wood finishers refer to coloring wood as “dyeing” and some refer to it as “staining.” Is there a difference?

Staining is different from dyeing because staining penetrates just below the surface of the wood instead of deeply coloring its substance—even if applied in heavy coats. Stains consist of a pigment, a binder, and a carrier that make the application of the stain on the wood easier. The pigment enters the microscopic openings in the wood, depositing a thin layer of coloring material that obscures the natural graining like a thinned-down layer of paint. Most fine finishers prefer using dyes because they not only color the wood, but also bring out the beauty of the wood’s markings, grain, curl, and flake, rather than hiding them.

The art of dyeing goes back to the ancient Egyptians. One of the best time-tested natural dyes, a brilliant red, is made from an insect known as the cochineal—so tiny that it takes some 70,000 of them to make a pound. Only the female cochineal is used to make dye. The bodies are dried, reduced to a powder, soaked in hot water, and combined with an alum mordant. (A mordant is a chemical that fixes, or stabilizes, dyes in materials. Some common mordants are acetic acid [vinegar], ferrous sulphate, tannic acid, and muriatic acid.) The result is color of exceptional brightness and definition. It was cochineal dye that produced the red of the uniforms worn by the British soldiers—the “Redcoats”—during the Revolutionary War.

Most dyes available to the finishing trade today are synthetic dyes, which may be water soluble, alcohol soluble, or oil soluble. The ideal dye should meet several requirements: it should change the color of the wood without covering it, penetrate deeply into the wood, and be permanent.

Apart from dyeing and staining, another way to produce a lasting change in the color of wood is to cause a chemical reaction on its surface—something Gustav Stickley achieved by “fuming” oak with strong ammonia. Ammonia fumes react with the tannin naturally present in oak to color the wood. (Caution: Strong ammonia is dangerous. Use a respirator and protective clothing if fuming in your shop.)

Stickley also produced a weathered gray by soaking rusted metal with an acetic acid mordant—that is, in vinegar—and applying the mixture to the oak. The mordant caused a chemical reaction with the oak tannin, turning the oak gray. Woods that contain no natural tannin, such as pine, can be fumed by introducing tannins to the wood before fuming or using mordants.

Synthetic dyes, natural dyes, mordants, and even cochineal are available at Olde Mill Cabinet Shoppe (www.oldemill.com), a supplier with extensive knowledge of the use of all these products.

Kitty Kleenex?

2010-03-30T06:48:00.000-07:00

I’ve used your advice several times with great success, but now I have a question that may stump you. I own a cat that has feline chronic upper respiratory disease, which results in a lot of messy sneezing, leaving spots that are very difficult to remove from wood surfaces. I have used dish soap or Murphy’s Oil Soap in the past, but many times the sneeze seems to leaves a residue that reappears later as a shadow. Do you have any suggestions as to what I can use on furniture and floors?

I’m curious as to why the residue reappears, since Murphy’s Oil Soap should remove it. It’s possible that something in the cat sneeze is etching the finish, leaving a “shadow” once the oil in the soap dries after a few hours or days. Try using mineral spirits to clean up after the cat, then apply a light coat of paste wax over the area. Mineral spirits are stronger than the Murphy’s soap and should do a better job in cleaning. Warning: Don’t use Murphy’s Oil Soap on old shellac, as alkali in the soap will further degrade old finishes.

I’m fortunate that none of our four cats has a sneezing problem—though they all have claws! Good luck and please let us know how you fare.

Reviving Mission Chairs

2010-03-30T06:47:00.000-07:00

My parents recently gave me an old mission chair and rocker that were probably produced during the 1920s or 30s. (They are not Stickley.) Over the course of the last 80 years, they have been abused. The arm rests, in particular, are worn down to the wood. What would you suggest I use to clean the chairs? And is there a way to rebuild the finish on the arms, using only shellac?

The first thing I would do is clean the finish using paper towels soaked in mineral spirits, which will remove the dirt from the shellac finish, but will not dissolve the shellac. Continue applying and rubbing until no more dirt comes off on the towel.

This cleaning will probably lighten the overall color of the chair. If you are satisfied with the color after cleaning, give the piece a good coat of paste wax, applying the wax by squeezing it through a piece of cloth. The wax will restore the “pop” to the finish and reveal the color you need to match in the worn areas.

Shellac alone may not completely restore the color where it has been lost. To determine if you need to use stain or dye as well, rub some mineral spirits on the worn spots. This “indicator” will show you what shellac only will do. If the worn areas are still too light, you will have to apply color. You can use any number of types of stains or dye. Pick a color that gets you in the right ballpark, and try it on a small area (about an inch square). Let the test stain dry and apply a coat of shellac. If you are satisfied with the results, stain the rest of the worn areas and apply a final coat of shellac; otherwise, keep adjusting the color. Be patient, take your time and let us know what happens.

Renewing Iron

2010-03-30T06:46:00.000-07:00

My question is about old cast iron: how should it be refurbished? I am told not to use soap and water or sand-blasting, so how does one remove the rust and greasy gunk?

If your cast iron will be used for cooking, I would not use any rust inhibitor or remover chemicals, since these contain phosphoric acid. Instead, I’d remove rust with a wire brush or wire wheel that attaches to your drill. Use cooking oil to float off the remains of the rust. The oil will also season the pan for cooking.

Healing a Wounded Table

2010-03-30T06:40:00.000-07:00

My wonderful Limbert table was damaged during a recent move. It now has an ugly dent on the top, about 2 inches long and a half inch wide. The dent is slightly discolored, and can be noticed from afar since the wood finish is very dark. Now that I’ve stopped crying, what is the best way to repair the damage?

The dent can be steamed out to some degree, and the discoloration touched up with dyes or stains. Start with a swab or Q-tip soaked with water. Dab water directly into the dent, using several applications until the dent actually contains standing water. Turn your clothes iron to its highest setting and wait till it gets very hot. Place the edge or tip of the iron into the dent at an angle (do not lay the whole iron flat on the table). As the hot iron meets the wet surface, you will hear a hissing sound as the water turns to steam. The steam expands in the cells of the wood, reducing the dent.

You’ll have to do this process repeatedly, adding more standing water to the dent each time. Don’t try to use the steam setting on the iron—you won’t be able to restrict the steam only to the dent, so you’ll damage the finish on other areas. The idea here is to soak only the crushed cells, and apply heat only to the damaged area.

Once the dent is pretty much gone, give the wood a few hours to dry out. Then you’ll probably need to apply some touch-up color. Use a small artist’s brush and alcohol-soluble aniline dyes, or stains if the piece is refinished. Prior to staining, you may need to rub the repaired dent very lightly with 0000 steel wool to smooth the surface and make it more receptive to the color.

When you’ve achieved a satisfactory color match, you need to apply a topcoat over the repair, again with an artist’s brush, overlapping slightly onto the surrounding, undamaged surface. You may need several applications of topcoat to build up to the surrounding finish level; even so, it’s better to use thinned finish and build up several layers, rather than laying down a single heavy coat, which is harder to level with the surrounding areas.

Let each coat of finish dry thoroughly and lightly rub between coats with 0000 steel wool. Level the margins where you’ve overlapped onto the old finish with 320 to 400 grit sandpaper, using finger pressure on the sandpaper edge. This is a time-consuming process, but if you persevere, you will end up with an unnoticeable repair.

The Finishing Touch

2010-03-23T08:16:00.000-07:00

I want to start investing in handmade furniture by modern craftspeople. I know I should be looking for a good design and for quality construction, but what should I look for in terms of a great finish?

In my opinion, a great finish should follow certain guidelines. One is using colors that bring out the true beauty of the wood. Another is the durability and aesthetic quality of the topcoat. The finish should look good as well as feel smooth.

Most modern craftsmen color their wood. Choosing the right color and shade is important: too dark, and you mask the grain; too light, and you may not bring out all the markings the material has to offer. Usually, dyeing—applying a color that penetrates the wood—serves the wood better aesthetically than staining, where the color sits more on the surface and may hide rather than enhance the grain. Not all craftsmen dye their wood. In some instances, staining with oil-based colors does work; in other cases, not coloring the wood at all may be the right choice. An advantage of collecting the work of a modern craftsman is that you can probably obtain color samples, or have coloring adjusted to suit your needs.

Durability of the topcoat is also important, so you should consider how the piece will be used. A dining table, for instance, requires a durable finish. Oil finishes look great, but are not as tough as other clear surface finishes (also known as film finishes). Some film finishes, such as catalyzed nitrocellulose lacquer, can be made to simulate oil finishes, and will stand up to harder use.

As to the aesthetic quality of the topcoat, will a shiny coat fit in with your room setting, or stand out? Will a dead flat or satin finish appear too muted next to your other furnishings? Sometimes your choices go beyond the individual piece being made when you take into account where it will live.

Lastly, handrubbing a finish to a silky-smooth texture is the key to a wood surface that begs for your touch.

Pyro-mania

2010-03-23T06:13:00.000-07:00

Pyrography (“writing with fire”) was a popular turn-of-the-century technique in which wood or leather was decorated using a heated tool. Color was sometimes applied within the burnt lines, as in this detail of a three-paneled screen, which listed ingredients for a happy life. Style 1900 Archives.

I’m fascinated by pyrography, and have collected dozens of boxes, letter-racks, small tables, etc. Sometimes they’re in good shape, but once in a while I find a piece in a garage or attic that is covered with years of grime. What’s the best way to clean these up? Do I have to worry about rubbing off the brown coloration where the design was burnt into the wood? How about the areas on fancier pieces that have been tinted with red, yellow, or green?

I’ve restored many pieces such as you’ve described (they are also known as pokerwork or Flemish Art). Some pieces are very sophisticated, while others are more crudely made. Still, even the cruder pieces are good folk art and should be preserved at every opportunity.

As with many attic finds, the years of grime can be easily removed with mineral spirits on a soft cloth. Most of these objects have a shellac finish, so the mineral spirits will not dissolve it. Work in a small area first to see how the solvent behaves, then proceed using the same technique.

I would be very careful on the painted surfaces—I have found pieces with no shellac topcoat on the painted areas. Use a Q-tip with mineral spirits on the paint, and if the color comes off, stop. Trying to clean areas where the paint is raw can result in removing a lot of the color. In this situation I would put a coat of paste wax on the painted areas to protect them, and clean the rest of the unpainted surfaces with mineral spirits. Wax will turn the paint darker which might even enhance the color; test a small area first.

As for the burn marks, they will not rub off unless they have been enhanced with stains. (In this case, treat them as if they were painted.)