Early 19thC Mahogany Longcase Clock. The left hand image shows the clock hood with the remains of one of it’s fretted side panels. The fretted panel on the other side of the hood is missing completely. This project consists of making up two new fretted panels and aging them to match the original finish/ colour of the clock itself. The RH image shows the tracing made of the original fret. The missing fret is recreated onto the tracing.

Image above left shows the completed tracing of the new fretted panel together with the timber blank. The wood used is period mahogany and the blank shown is made up of two 2.5mm thick panels glued together with thinned scotch glue. The RH image shows the blank panel part cut on the fretsaw.

Here the completed fretted panels are shown. The blank panel (which comprised of the two thin 2.5mm thick panels) was soaked for 30 minutes in water until the two halves seperated. The RH image shows the backing paper being attached to the panels on the reverse sides.

Left hand image shows the two panels coloured and distressed using thickly applied vandyke water crystals left to dry then polished with shellac before being burnt with a heat gun to make the finish slightly opaque. The clock overall is NOT being extensively restored and as such will show all it’s original and aged finish so these new fretted panels have to look very close to original. The RH image shows one of the completed panels in the clock hood.

Completed fretted panel in the left hand side.

Completed panel to the right.

Above image shows the remnants of a period Vienna Wall Clock! Actually, just about all the pieces are intact, they just need putting together (and restoring) The clock case has spent the last 8 years in a damp garage stored in a large cardboard box and belongs to a local private client.

First job was to glue up the pine side frames (they’d been badly sanded previously). Also, all the joints in the door frame were loose and needed regluing. The LH image shows this work completed and the clock case laid out in loose form. The RH image shows the shaped pediment with lifting veneers due to dampness and veneer loss.

Image to the left shows the repaired veneer including neatly let in veneer patches. In the RH image, the clock case cornice has some veneer loss to the moulded cross grain edging.

Image on left is showing the repaired cornice with the new veneer let in to match the original. RH image shows the finials and carved sections (which will be ebonised later) being stripped of their encrusted finish which was beyond saving.

The stripped finials and carvings awaiting ebonising. The walnut veneered cornice and platform awaiting stripping which is done carefully by hand.

Here, all the clock case components are fully stripped of their polished finish. There was no finish that was worth saving as it had totally degraded. The RH image shows all the components, stained and partly polished. The finials and carvings have been ebonised as per the originals – all done by hand using traditional techniques and materials.

The image to the left shows the partly polished case components being assembled, glued and cramped. The RH image shows the original back board which is too badly warped to re use so I’ve cut a new board from old timber to exactly match the original.

Completed clock case. Due to it’s poor state of repair, there was no choice but to completely rebuild, restore and french polish. Total hours spent on this project, around 22 hours.

Clock pediment with all repairs undertaken.

Above image shows an original glass Skeleton Clock dome and movement which is missing it’s original wooden base. The large piece of timber shown is a section of original cuban mahogany table leaf. A line has been scribed around the base of the glass dome onto the timber in preparation for the making of the base.

Creating these bases involves using a router with guide bush and plywood templates. The above image shows the various components including both templates and both pieces of mahogany table leaf with the base blanks removed. There are two bases to be made for two different size clock domes.

Above image shows one of the bases cut from the table leaf, shaped and awaiting the moulding of the base edge which is done again using a router and shaped cutter. The fine groove to the top of the base matches exactly the outline of the glass dome. The dome drops neatly into the groove with a tiny bit of play to allow for lateral movement of the timber during extremes of temperature.

Completed clock bases shown with movements and glass domes installed. One base is finished to a rich mahogany colour with added finely turned feet. The other larger base in the background is mahogany but has an ebonised finish again with turned feet. This is fairly standard and straightforward work but needs a high degree of care when handling the glass domes which are original and irreplaceable.

Above image shows a late 20th century Specimen Table. So called due to all the different timbers used in the patterns on the top. The outer banded surround is in solid ebony whilst the stem and base are ebonised with faux decorative panels. This rare table had been stored in a damp garage for over 20 years. The decorative timbers to the top had started to lift and the finish was becoming opaque due to damp and water damage.

Showing here are a multitude of cramps! The thickness of the various timbers in the top was around 5mm. Glue was injected and worked into the loose pieces and each section was painstakingly cramped flat. No attempt was made to sand or level the top afterwards thus conserving the original finish and rich colour. The surface was gently cleaned of it’s oxidised coating that had built up from years of neglect.

Above, the completed table. All the lifting sections to the top have been reglued as flat as can be allowed. The centre circular section has been replaced as has a part of one of the speciman timbers to the edge. The base which had suffered extensive scratching and marking has been sympathetically restored. The top finish has been carefully revived as mentioned above using a hard wax and pumice process creating a finish that looks warm, original and well cared for.

Completed top in all its glory – I really enjoyed tackling this piece!

Victorian Burr Walnut Veneered Games Table top with extensive veneer loss. The client’s instructions were to remove the original veneer and reveneer in Burr Walnut veneer. LH image shows the table pre restoration. The RH image shows the four sections of Burr veneer laid out prior to veneering the top. The top is to be quartered whereby the leaves bookmatch each other. Veneer used is American Walnut Burr which to begin with is quite dark in colour. The golden honey colour that is typical of aged burr walnut is achieved by applying Hydrogen peroxide bleach to the veneer in concentrated form mixed with 880 Ammonia.

Image on the left shows the top reveneered using traditional scotch glue and a veneer hammer. The RH image shows the completed work after all cleaning up, bleaching, colouring and french polishing has been undertaken. The fine line decoration to the top is boxwood stringing carefully let into the top surface.

Above images show a door from a Georgian Mahogany Longcase Clock which is showing as badly warped with a 2″ twist and desperately needing repair! The processes involved to rectify this sort of dramatic defect is quite complicated and expensive but worth it in the end.

The LH image shows the door in two pieces. The door was cut down its narrow width using a hand saw. Once cut in half, the top half of the door (with the polished finish) was planed flat by hand, then glued and cramped to an old peice of mahogany timber. Because the top face of the door is much thinner for being sawn, it’s flexible enough to glue flat to a flat piece of timber. Once, glued and left to harden off, the door repair section was trimmed and matched in with the original. RH image shows the completed door fitted to the clock case. This picture was taken today (6 April 2010) approx 2 years after the repair was carried out, and the door is still totally flat.

The above images show the underside of a Georgian Mahogany Tripod Table. The block is completely infested with woodworm and has been badly repaired in the past. Part of my work on this table is to remove the existing block and replace with new. The RH image shows the block in pieces as removed from the table stem. As the image shows, the safest way to achieve removal is to carefully chip away piece by piece rather than take off as one section due to the wedged tenon joint.

The LH image shows the replacement block being glued and cramped. The next stage is to shape the underside with broad chamfers and created the circular pins necessary to allow the table top to tip whilst in use. The RH image shows the completed work awaiting a coat of wax polish. The block is secured to the table stem using the original tenon joint with a new mortice cut into the block. The joint was then glued and wedged in the traditional way.

Another aspect of this project was to refinish the top surface. The original finish has been lost in the past the top had been sprayed with a 2 pack lacquer! The LH images shows the table before work begins. The RH image shows the top completely refinished using traditional shellac and oil based techniques. In addition the top was bleached before refinishing using a Hydrogen Peroxide and Ammonia mix before careful colouring to match the base. Also, but not shown in the images, two of the legs were removed repaired and reglued due to splitting of the leg joints previously. The table top is one peice, and full width with no joints – nearly 40″ wide!

The above images show a Victorian Mahogany Wellington Chest on arrival at the workshop. Belonging to a private client, the chest had been used as a tool chest by the clients father in his workshop for many years and has suffered accordingly! With some missing drawer knobs, veneer loss to the plinth, broken beading and sticking drawers, the chest was in really poor condition. In addition, the original finish had oxidised so badly that it had to be removed completely. Most original finishes can and should be preserved but this one was too damaged to be revived

Here the completed chest with all repairs undertaken and the chest completely french polished from scratch using traditional methods and materials. The top is showing slightly lighter in the image due to overhead skylights in the workshop! Total time taken to achieve this end result was around 21 hours.

The above images show an oak Old Charm Dresser. This piece dating to around 1965 is of good quality construction and always restores well.

The dresser belongs to a private client who wants me to strip the entire finish and polish  it to a natural oak colour. The timbers used in these type of pieces are usually good quality and polish up well.

The above images show part of the stripping process. The existing finish is stripped used a methylene chloride based paint stripper. This product is applied by hand with the softened finish removed using first a scraper then coarse wire wool until the timber surface is completely stripped. Hand stripping is always preferable to dipping in a tank. Tanking furniture damages water based glue joints and affects the surface of the wood making it rough. Methylene Chloride stripper is bascially a Nitromore type product, is dangerous to use with people having literally died after using this stuff!  Breathing the stripper fumes introduces carbon monoxide into the blood – always wear a mask and have plenty of ventilation!

These images show the dresser completely stripped of its original finish. All the stripping is done by hand and this particular item took a total of 5.5 hours to strip. The dresser now awaits washing with a solvent to neutralise the stripper, then its on to the refinishing process.

Above image shows the completed dresser awaiting delivery to the client. The finish used is hand applied and shellac based with a matting agent. The process is completed with a couple of coats of wax polish after the finish has hardened.