Bole: | A colored clay used as a preparatory layer for gilding; its color determines tonality of the gold. |
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Boule (also Buhl): |
After Andre C. Boule (French 1642 – 1732); elaborate inlay work distinguished by intricate often lacy, brass designs. Can be combined with various rare woods, ivory, and tortoise shell to form complex designs. |
Burl: | Strongly marked wood cut from a large, round disfiguring outgrowth of a tree or limb. |
Carving: | To fashion a decorative element into a desired shape by cutting material with sharp tools. (See “Recarving”) |
Element: | One of the parts of which an object is composed. |
Figure: | The surface pattern of a piece of solid wood or veneer created by the wood’s grain. |
Fretwork: | Decorative patterns or elements created by cutting or piercing through a piece of wood. |
Gesso: | A combination of calcium carbonate and glue used over an object’s surface and as a preparation layer for gilding or painting. |
Gilt: | Gold applied to a substrate. |
Gilding: | The application of gold leaf to an object, generally to wood or metal. |
Gilt Parcel: | An object, which has gilded elements without the whole being gilded. |
Gilt Paint (also “Gold Paint”): |
An oil paint with metal flakes (usually brass) inappropriately used to simulate gilding. Often used over original gilding, gold paint darkens (tarnishes) quickly; it is often impossible to safely remove it from a gilded surface without destroying the surface. |
Inlay: | To set pieces (of wood, ivory, metal, stone, etc.) into the surface of a piece, generally at the same level as the surface, to establish a decorative pattern. Marquetry and boulle work are major examples of inlay. |
Knot: | Base of a tree branch, which is visible on a larger branch or trunk sawn from that area. |
Late Additions: | Elements which are not original to the object. |
Lip: | Solid strip of wood, often decoratively cut, used to finish the edge of a large element such as a top or drawers, etc. |
Marbling: | A faux technique to replicate the look of marble using paint, applied directly to the wood surface. |
Marquetry: | Elaborate inlay of various woods into patterns, scenes, botanicals, etc. |
Ormolu: | Gold mixed with mercury, applied to bronze and furnace fired. Firing vaporizes the mercury leaving a thin layer of gold on the metal. Most often seen in pre-twentieth century metal fixtures on furniture. |
Patina Natural: | A surface finish or appearance induced by environmental factors over a prolonged period of time; often called “age patina.” |
Patina, Induced: | A surface finish or appearance artificially induced by chemicals or other means to create a finish desired by the creator; (2) artificially induced replication of age. |
Primary Elenent: | One of the most important visual elements, almost always visible when the furniture is in its usual placement; e.g. bookcase doors; drawers; crest rail, etc. |
Secondary Element: | Generally a support element which is not visible when the piece is in its visual placement. |
Stain: | A liquid applied to wood to penetrate the surface and product a rich color. |
Structure: | That which supports the primary structure upon which the primary structure is adhered or otherwise attached; e.g. “pine under the veneer with corner blocks.” |
Support Element: | Any vertical element (leg, foot, etc.) used to hold a piece of furniture upright, constituting an important visual piece of the whole. |
Veneer: | A think surface layer, usually fine wood that will be adhered to a substrate of less valuable or inferior wood. May also be horn, ivory, etc. |
Wood Surface, Cross-Section: | Surface created by a transverse cut at right angles to the wood’s grain. |
Wood Surface, Radial: | Surface created by a cut at right angles to growth increments and parallel to the rays. |
Wood Surface, Tangential: | Surface created by a cut at right angles to the rays and tangential to the growth increments. |
Degree:
The comparative extent of damage described by the following adjectives:
Negligible:
Insignificant damage that may not need immediate attention but needs to be monitored.
Slight:
Damage slightly more noticeable than “negligible”; should be monitored by a conservator.
Minor:
Existing condition, which is relatively unimportant; generally does not involve risk of loss; should be monitored by a conservator.
Moderate:
Damage is noticeable and may be of middle or increasing severity of size; not serious but should be monitored or corrected by a conservator.
Marked:
Readily identified damage, often with distinctive features and requires remediation by a conservator.
Major:
Damages or existing condition are noticeable, if not conspicuous in extent; stability of the work is in question, often great risk is a factor. Requires immediate attention by a conservator to prevent further damage or loss.
Extreme:
Most severe damage or existing condition has become very advanced. The work is insecure, no longer stable and at great risk.
It is important to understand that damage to a work of art is rarely static and the work will continue to deteriorate. It is best to have a conservator monitor works annually.