< MECHANICAL, ABRASIVE, CHEMICAL & ELECTROLYTIC CLEANING
FINISHING THE RESTORATION & PATINATION
Ideally, a skilled restorer will be able to stabalise and repair a damaged sculpture without disturbing the oringinal finish. If this is not possible, the sculpture will often have to be repatinated, at least in part and possibly in it’s entirity. In addition to the application of a finish, the restorer will also usually re-apply a protective coating such as a wax or lacquer coating.
Refering to earlier comments made in the main text on the practicality of copying an existing patina (see PATINATION and HOW TO GE THE RIGHT FINISH), it is worthwhile repeating here how difficult it can be to reproduce a patina effect - even when the original compound formula and method of application is known. A skilled patineur will normally be able to approximate most standard finishes; however, no patineur can be expected to reproduce the depth of character that typifies a quality, well aged patina deposit. If the affected sculpture has to undergo a repatination, it is essential to consult with the contractor before any cleaning takes place. Doing this allows for a proper documentation of the patina’s characteristics, and if needs be, a scientific or other investigative analysis of the applied patina/protective coating. Careful research and pre-testing samples, whilst the original patina is intact, should minimise the oppotunuty for serious mismatching to occur during repatination.
Do not assume it is any easier to retouch a limited area of the sculpture’s patina finish than it is to repatinate an entire cast. Apart from the matching difficulties outlined above, the contractor will have to contend with any exisiting protective coating (such as a wax polish or varnish) remaining on the sculpture’s surface. Even if the coating is removed with a solvent (white spirits for example), it can be very difficult to satisfactorily blend in and retouch an existing patina. This problem may be compounded if the affected area is on a prominant part of the sculpture’s form, or other significant surface, such as a large flat area.
In short, the consequences and implications of restoring a sculpture in any way, should be carefully weighed up and thought through before any action is taken. If it is at all possible to leave the original surface finish intact, it is normally advisable to do so, even if it means permanantly removing the artwork to a protected area and replacing the original with a copy.
A BEGINNERS GUIDE TO PATINATION > |
