Frequently Asked Questions
What responsibility for the future owner will be raised by purchasing or inheriting an antique item?
Well the responsibility is rather high then it looks like from the beginning. An antique piece of furniture cannot be simply exploited by its utility aim/use. In which case there are much more convenient and simpler options such as IKEA shop for example. Where people are can buy items for its pure utility purposes. An antique piece represents many different aspects of the human history and heritage instead of just being a piece of an interior. One must understand that the ability to buy or order a piece of furniture in the past has not been widely spread through the masses. It is not just a point that it was very expensive to have a good quality piece of furniture. Apart from power, wealth and extravagance even at that time it represented a human ability to shape the material in such astonishing way where it loses its material/natural character and becomes something else (a truly artistic expression in master's opinion, or piece of art), more beautiful and precious then a few pieces of wood jointed together. Well, now after many human lives that has passed through its life, I mean a piece of furniture of course, and a different time, now it is hire and continues its journey in time. Well, in that case one cannot own an antique item but could be described as a temporary owner only. The amount of true - everyday life history that the item has absorbed and been part of is simply enormous in quantity and incredibly important. And those specialists who can read such histories will tell you that the importance of such item is unspeakable for the present as well as for the future generations. I hope it helped a little bit to get an idea about responsibility that a piece of antique furniture brings with it to one's life.
How shell I take care of my antique furniture?
There are at least six very important issues needed to be thought of.
First of all is a temperature. Avoid sadden changes. The temperature must rise or lower slowly and gradually.
Humidity is very important too, in combination with temperature it could course devastating damage such as very deep and vide cracks in the structure of the item. There are inexpensive humid detectors available in shop like Thiry in Leuven. Dehumidifiers and humidifiers could be pricy but will change environment for better not only for the furniture as well as for the human beings too.
Sun light must be avoided as a factor of very fast and intensive discoloration or bleaching of the decorative surface of the object. Use curtains or some other soft material which will stop any strong direct light going against the furniture.
Another thing is a wet cleaning of the decorative surface of the item. It is advisable to avoid it too. This is weakening the protection of the decorative surface itself. Clean it with a soft brush or dust cleaner.
Better not to add any DIY products to its surface, it might course a long term damage. Please do seek an advice from professionals.
The last one is insects. Those are eating the wood and bringing an item literally to a dust. Well, there are preventive products which could be used preferably by a specialist in a professional environment. As soon as one have noticed a very fine white dust is coming out of your wooden item - immediately search for a specialist before it is too late.
Is it necessary to ask a restorer to treat absolutely any damage or some of it is not needed to be taken care of?
It is possible to leave some problems unattended if it is simply decorative damage without progressing any further. But it is advisable to ask an expert or number of experts in order to get full understanding about the problem before the action of restoration would be applied or not.
How would I know which damage is needed to be restored or not?
There are different types of damage, such as: Constructional, Decorative and Surface damages.
Unattended constructional damage leads to full destruction of the whole object, most of the times with inevitable loss of some parts of the object. Where an item must not been used at all.
Unattended decorative damage leads to further destruction already damaged parts of the item with possibility of unexpected loss or damage other decorative elements of the item. In this case item better not to be in use or at least those parts that might be in danger.
Unattended surface damage leads to deep disintegration of decorative surface of the item, such as lacquer, wax, polish or paint, itself and wooden structure or surface too. Here it is better not to use those parts of the item or at least cover them with some protection.
You must be aware that none of these actions like: not to use the item or not to use some parts of it, will stop or prevent further deterioration process. It must be mentioned that there are slow and fast deterioration processes. Fast ones such as: woodworm for example must be treated immediately. Otherwise in matters of weeks the damage might go too far where it won't be anything to restore. It is entirely up to the owner's wise decision to ask for restoration or not. But please do try to get as many professional opinions as possible before it might be too late for the item.
How would I know is it worth wile to restore the item or not?
To answer this question is advised to get as much possible or available information about item's historical, craftsmanship and personal value. Once again please do ask for a professional opinion or better opinions. At the end of the line it is up to the owner to decide to invest a certain amount of silver in this item or not. A valuable fact - well made antique furniture never goes down in prices in time.
Would the price for restoration vary from high valuated object to low priced one?
The price for Restoration & Conservation treatment is irrelevant to the valuation of the object. Why is that? Well, imagine there are two items one has been bought at Christie's auction for two millions the other was bought at a flea market for two hundred euros. In terms of historical value both of them nearly from the same period. In terms of craftsmanship both were executed well in valuable and rear materials. But the first one fits the top of today's fashion the other one is not. Now applying Restoration & Conservation treatment to both of them the level of quality of applied treatments, expertise and care won't defer from one to another in Yuri's workshop. Both items are representing an evolution of craftsmanship and both are equally important as our historic heritage. Therefore there won't be any difference in price charged per hour in Yuri's workshop, but there might be a difference in price in total. That depends on the amount of hours that would be spent on items damage and dealing with related problems.
How can I learn about the valuation of the object?
Talking about valuation at least two things must be taken in account.
First is a historical value, which contains period and place - when and where the piece has been made, in what style, any significant attachment to important persons, collections, places or moments in the past.
Secondly craftsmanship value which contains the name of a designer and a maker or a workshop where the piece has been made. Under what influence (because many pieces were made under impression of other more important objects such as an architecture design or other more important pieces of furniture) the piece has been created, as well as the quality of applied skills and techniques.
And only then one can thing about an equivalent in silver which would be possible to get for the object if the market has not collapsed, the war or some other geopolitical crisis has not suddenly happened, a wealthy collector has appeared, the fashion which is on top at the moment and so on and on. There are a lot of factors which can influence the price of the item in both directions, which does not reflect correctly neither historical or craftsmanship true value. The piece is simply priceless. Here is a little example if the most high price which has been or could be paid does reflect those values mentioned above it would be possible fully recreate a piece of furniture if it has been lost in a fire for example. Well I am sure the piece could be recreated in its physical presents but how years and years of the past would be added to it? In master's opinion that is not possible.
How can I understand the complexity of restoration process?
One must count first of all a hand power and hand tools which primarily used in the master's workshop in order to achieve the best possible result and same characteristics that the piece has. Plus organic material which might not (some of it might be some not) be prepared in advance and must be used right away such as filler, glue, bole, gesso, etc. Another level that must be added is that every single problem or damage is completely different to each other, this leads to a continues learning curve for the specialist who cannot afford any mistake in the process. As well are important the source and an ability to find the right material for a replacement of the same type and characteristics as the original dictates. In combination of all these factors the work of a professional conservator restorer could be paralleled with a solder on a mine field. But not with those who mines but with those who demine it.
How the time frame will be estimated for restoration treatment?
Well this is an area where even previous experience might fail. It is common practice that the visual part of the damage is shown only 25% or 30% of the real problem. This is leading in to increasing the working hours from 10% up to possible 100%. In case of any increase of the estimated time frame a client would be informed in advance and given an opportunity to choose - to deal with the problem or not. The time that the item will spend at the master's workshop is irrelevant to the amount of working hours. Normally it is twice as large of the estimated working time. This is due to some slow drying processes, such us: hand polishing or an application of some other decorative surface, gilding, silvering, woodworm treatment, etc. It is advised to make a detailed examination (if necessary together with a client) before the item has been brought to the master's workshop. Where at least every visual aspect of the present problems could be discussed and counted.