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GLOSSARY FOR PAINTINGS

Abrasions:

Loss of media (and often the ground) caused by rubbing or scraping.

Accretions:

An accumulation of extraneous matter on the surface of the painting that alters the original design, i.e. dirt, dust, grime, etc.

Aging Cracks:

Visible stress as a result of adverse environment conditions, mechanical or other causes that have developed over an extended period of time. The cracks are through all the layers of a painting beginning with the support. The individual cracks or fissures can form a network pattern of straight or barely curved lines.

Alligatoring:

The upper paint layers pull away in a pattern similar to the look of an alligator’s hide when the drying process is compromised. The layer below is visible and the upper layer has a raised appearance. Also known as “drying cracks” – see “Drying cracks” for illustrations.

Auxiliary Spline:

An attachment contributing stability and/or strength.

Backing Removal:

Removal of a previous lining which no longer has structural strength or is creating unintended problems in the painting; there are many ways to remove a backing, ranging from mechanical (scalpel), to heat or to solvents.

Bitumen Deformation:

Bitumen paint, a dark paint made from coal tar and frequently used in 19th Century paintings, is subject to deformation resembling burn blisters resulting from an adverse chemical reaction within the paint itself as the paint ages.

Blanching:

Milky areas in paint or varnish; a scattering of light from granulation in aged films.

Bleeding:

Suffusion of a color into adjacent areas, most often caused by moisture or solvents.

Blister:

Disruption causing an area to protrude from the painting’s surface; separation of the paint from the ground, or both layers from the support.

Blooming Varnish:

Superficial cloudy area in varnish; most often caused by moisture penetrating the varnish layer.

Buckling:

Disruption causing ripples or ridges in canvas.

Bulges:

Localized swelling from within or underneath caused by pressure.

Burns:

Blistering and/or charring of a paint surface as a result of intense heat, often or associated with a fire or other open heat source.

Chalking:

The pigment in a paint layer that has turned to powder.

Cleaning:

To remove aged and discolored varnish; to remove dirt, grime or accretions.
NOTE: ALTHOUGH CONSIDERED BY MANY TO BE A BENIGN AND ROUTINE PROCEDURE, CLEANING RANKS AMONG THE MOST DANGEROUS OF PAINTING RESTORATION PROCESSES IN UNSKILLED HANDS (SEE “OVERCLEANING”).

Cleaning Rear of canvas:

Removing accumulated dirt, dust and grime reduces both damaging weight and tension on the canvas, ground and paint layers while removing acidic materials which physically degenerate the canvas. It must be removed in alternating small squares to avoid damaging excess tension from developing in the canvas, ground or paint.

Cleaning Test:

tests performed upon the varnish layer to determine the precise blend of solvents or enzymes, which will successfully remove the varnish (clean the painting) without also removing paint. The results are often dramatic.

Cleavage:

Separation and lifting of the paint and ground layers from the canvas; generally associated with cracking of the paint and ground layers.

Cockling:

A broad wrinkle or system of wrinkles without creasing.

Consolidation:

Procedures to re-adhere flaking or delaminating paint to the canvas.

Cracking:

A failure of materials caused by stress.

Crackle:

Perpendicular disruption; fine cracks appearing in any of the painting’s layers.

Craquelure:

Network of cracks. Caused by the shrinking of the paint or varnish.

Crazing:

Microscopic fissures, developed from age, in the varnish layer, distorting light refraction which affects the appearance of haze. In extreme instances the varnish layer becomes opaque.

Crushed Impasto:

Impasto (the application of thick layers of paint) leaves distinct patterns of an individual artist’s brushwork often identifying the authenticity of a particular painter’s work – these sharp peaks and well defined valleys are easily crushed through inept restoration where the application of too much heat during lining will soften and partially melt the paint layer itself, crushing it downward, partially or totally flattening it. The distinctive feature of “crushed impasto” is a soft, rolling crest to the top of the impasto.

Cupping:

Aged paint, loosened by cracking, with edges curling to create cup-like formations.

Crease:

Line or mark made by folding or wrinkling.

Cut:

Straight separation in support caused by sharp slicing action.

Deformations:

Change or alteration of the overall form of the painting or sections of the painting.

Delamination:

Separation of the layer(s) of the ground, paint and/or varnish layer(s).

Dent:

A depression made by pressure.

Dimple:

Any small, hollow place that has not penetrated through the layers.

Dirt /Grime:

Dirt of any kind, which has accumulated on the surface (accretion); may also be embedded into the support (soiling).

Dirt Pocket:

When debris accumulates in the gap between the stretcher/strainer and the canvas, it is known as a dirt pocket; these substantially accelerate degradation of a painting and should be regularly cleaned out.

Discoloration:

Changes of hues, often uneven and obviously detrimental to the prevailing tones.

Draw:

Stretch by tension.

Drying Crackle:

A network of cracks from stress to the paint as it dries; sometimes called shrinkage or traction crackle.

Drying Cracks:

Curved and wide cracks that occur during the drying stage of the color layers which are a result of the chemical processes and/or physical influences; in the paint layer only. This is one of the major cracks in the paint layer. Also called “Alligatoring”

Dust:

Loose fine particles on the surface.

Embrittlement:

Canvas has become perceptibly fragile to the point of snapping, crumbling or breaking.

Facing:

The adhesion of a protective layer (most often tissue paper upon the face of a fragile painting) to prevent loss of the paint during conservation, or until conservation is performed.

Facing Removal:

The procedure for removing a facing.

Faded:

Losses of brightness or brilliance of the color(s).

Fill:

Material used to replace missing areas of loss, usually in ground layer.

Flaking:

Extreme cracking causing paint and/or ground layer to dislodge from the support, often through a combination of cleavage and cracking.

Fold:

Bend or double over upon itself.

Frame Abrasions:

When the painting is installed in its frame in such a manner that the frame touches the painted surface, the frame will eventually abrade through the paint layer. The danger is that oxidation between the exposed layers will result in the paint peeling from the canvas in ever enlarging areas.

Friable:

Insufficient binding media to adhere pigment to the ground layer causing the paint to become powdery, chalky or crumbly.

Fumigate:

Arrest insect infestation, mold or other biological growth threatening the work; generally performed by direct application of chemicals or exposure of the work to chemical fumes in a sealed chamber.

Ground:

Coating used to prepare canvas or panel for painting. One of the layers of a painting.

Hole:

Open or hollow loss in the support, through the varnish.

Impact Crackle:

Cracks in radiating circles caused by a blow.

Impact Damage:

Multiple losses, abrasions, tears, etc. from a major impact.

Inherent Vice:

Existing condition, which causes deterioration of the painting as a result of its original construction.

Inpainting:

A restoration process to cosmetically re-establish color and/or detail to losses in the paint layer; generally accomplished with pigment in an appropriate binding medium applied by brush. Also called retouching.

Insect Damage:

Numerous species of insects feed upon materials in a painting, inflecting damage, which, if uncontrolled, can be massive. Most occurs on the rear of the canvas, and in extreme cases can leave the paint layer unsupported, causing it to collapse.

Insect Detrius:

Droppings and other feeding remains left by insects – generally on the rear of the canvas.

Infestation:

An overrun and invasion, generally associated with insects, bacteria, or other micro-organisms such as mold.

Insect Resistant Backing:

A fine metal mesh , attached to a metal frame which , in turn encloses the rear and sides of the painting. Both the frame and mesh are of surgical grade stainless steel which is non-reactive with the painting: the mesh itself allows air circulation while preventing entry of insects. This system is excellent for tropical climates, but not recommended for more northern climes.

Insecure:

A damaged work, which maybe in the process of deterioration due to weakening of materials or due to weakness in structure or construction; work will probably sustain further damage if moved or handled without immediate attention.

Inter-layer Delamination:

With the right internal and external conditions the ground, paint layer and varnish separate from each other.

Key:

Piece of wood, which fits into the corners of a stretcher to maintain the tension of the canvas.

Lacuna:

Missing paint in a small area.

Lifting:

The rising of the paintings surface; layer separation.

Lining:

An auxiliary support applied by a conservator to the original support (canvas, etc.) of the painting when the original support no longer has enough strength to carry the weight of the painting. Linings can be constructed from a variety of material, including canvas, fiberglass etc. and may be rigid, semi-rigid or flexible as the need demands.

Lining Removal:

When a painting’s lining becomes degraded, it must be removed and replaced (relined).

Loose paint:

Areas of the pigmented layer, which have lost adhesion and are no longer firmly fastened to the surface, but are still there.

Loss:

Missing area in one or more layers of the painting; most frequently the result of flaking, abrasion, tearing, etc.

Medium:

Base, such as oil, varnish, water, etc. containing the pigmentation and used as a vehicle for the pigment.

Mold/Mildew:

Any of various fungi growths, which invade many organic surfaces, provided sufficient moisture is present, producing enzymes that dissolve or degrade the host material.

Over Cleaned:

See “Skinned”.

Overpainting:

Restoration requiring in painting where the restorer does not have skill enough to retouch within the damage area alone without having to extend the restored area substantially beyond the boundaries defined by the damage.

Patch:

Small piece of fabric (usually canvas) used to mend a tear or puncture through application (usually adhesion) to the rear of the canvas.

Planer Distortion:

See “Warping”.

Puncture:

Hole made by impact.

Retouching:

See “Inpainting”.

Scratches:

Loss on the surface, which may extend to the paint and ground layers caused by marking the surface with something sharp.

Skinned:

Where over cleaning has removed original paint Also called “excessive cleaning”

Smoke Damage:

Deposition of partially combusted material and it’s accompanying odor: generally resulting from candles, tobacco, fireplace residue or a building fire.

Soiling:

Deposition of dirt or other materials upon the face of a painting; this may include fingerprints.

Shrinking:

Distortion causing the material to become smaller or more compacted.

Split:

A rupture running along the grain of a piece of wood, usually caused by stress.

Stain:

A soiled or discolored appearance caused by a foreign substance or uneven aging.

Strainer:

Auxiliary support – fabric over wood, fastened tightly at all joints.

Stress Cracks:

Various types of external pressure (impacts, etc.) create stress in the ground and paint layers, eventually resulting in cracking of the paint film.

Stretcher:

Auxiliary support – fabric over wood, tongued and slotted at its joints to allow tightening.

Stretcher Cracks:

Cracks developing in the painting’s corner from over tightening the keys.

Stretcher Marks

A crease or line of cracks in the ground or paint layer of a painting, following the inside edges of stretcher members or the edges of cross-members caused by the support touching or resting against the members of the stretcher.

Strip Lining:

A partial (or strip of) lining confined to the outer edges of the painting when it is necessary to strengthen the edges but not yet necessary to line the entire canvas.

Superficial Grime:

Accumulated dust, grease, smoke and attendant particulate matter, which generally accumulates by precipitation out of the air or by transfer through inappropriate handling. Superficial grime can become imbedded in some instances and can be difficult or impossible to remove.

Support:

Material providing the foundation for the painting; most commonly canvas or wood, and occasionally metal, masonite or other materials.

Support Failure:

Deteriorated canvas, which no longer has enough strength to support the painting.

Tacking Edge:

Edge of fabric on painting used as a means of attachment, turning it over the sides of its auxiliary support.

Tear:

A break in fabric as a result of tension.

Tenting:

Delaminating of the paint and /or ground along cracks where the delaminated layers lift upward into a pattern resembling the peaked tops of tents.

Varnish:

Resins in oil or solvent, used primarily for protecting the surface of the painting.

Varnish Aging:

Natural resin varnishes turn first golden in hue and then progressively darker with age, causing a serious distortion of the artist’s original colors.

Warping:

A structural distortion of the support whereby the support has become twisted, turned or bent out of shape; no longer flat or in plane.

Water Damage:

Lifting, delamination and loss of paint resulting from water coming into contact with the painting and drying. Damage follows the course of the water over the painting.

Water Staining:

Staining on the rear of the canvas caused by water coming into contact with the canvas and subsequently drying. Generally accompanies water damage (lifting and delamination) on the front of the painting. Water staining can also occur on the front of contemporary unvarnished paintings. See “Water damage”.

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.

GLOSSARY FOR WORKS ON PAPER

Abrasions:

Loss of media (and often the support) caused by rubbing or scraping.

Accretions:

An accumulation of extraneous matter on the surface of the artwork that alters the artist’s design, i.e. dirt, dust, grime, etc.

Acidic Backboard:

Rear board upon which paper art is mounted, made of wood, wood pulp or other acidic materials which will seriously damage art paper.

Acid Burn:

Alteration to a work on paper (usually darkening – resembling burned paper) caused by lignin containing acidic materials in proximity to, or in contact with the art.

Acidic Mat:

The border around a picture, between the picture and the frame made of wood pulp paper or other acidic material which will seriously damage the art paper.

Adhered to Backboard:

Paper adhered to a stiff board behind it; usually with glue or self adhesive tape.

Adhesive & Tape Residue:

Remains of adhesive left by previous application of paste, tape, glue, etc; generally occurs during inept mounting of the sheet.

Auxiliary Support:

An attachment to the sheet to add strength and stability.

Backing Removal:

Removal of a rear board (See Adhered to Back Board) to which a work on paper has been adhered. Removal can be wet, if the art can be immersed and the adhesive is water soluble, or dry with a scalpel if the work cannot be immersed in water.

Biological Degradation:

See “Mold/Mildew” and “Insect Damage”.

Board:

A thin firm board made of compressed paper pulp, used as a support for drawing or painting.

Cleaning:

Removal of dirt, or other soiling; dry cleaning or wet cleaning (washing) are the two most common methods.

Cleavage:

Separation and lifting of media (gouache, paint, etc.). From the support layer (paper, board, etc.).

Cockleing & Buckeling:

A wrinkle on broad system of wrinkles without creasing.

Consolidation:

Procedure to re-adhere delaminating media to its primary support sheet on board.

Crease:

Line or mark made by folding or wrinkling.

Cut:

Straight separation in support caused by sharp slicing action.

Deacidification:

Mitigation or removal of conditions causing work to be or become acidic.

Delamination:

Separation of the layer(s) of the support and/or media layer(s); often accompanied by flaking.

Dimple:

Any small, hollow place.

Dirt/Grime:

Dirt of any kind that has accumulated on the surface (accretion); may also be embedded into the support (soiling).

Discoloration:

Changes of hues, often uneven and visually detrimental to the prevailing tones.

Dog-ear:

A folded down corner.

Draw:

Stretch by tension.

Edge Damage:

Any damage in and confined to the edge of a sheet of paper; usually small tears.

Embrittlement:

Support has become perceptibly fragile to the point of snapping, crumbling or breaking.

Faded:

Losses of brightness or brilliance of the color(s).

Fill:

Material used to replace missing areas of loss.

Flaking:

Media and/or support layers to dislodging from the support.

Flyspeck:

Small dark spots of fly excretion.

Foxing:

Reddish-brown stains believed to be caused by metal particles in the paper being attacked by micro-organisms; foxing previously thought to be a variety of mold or mildew.

Frass:

Powdery residue left by insects after attacking a sheet of paper or board.

Friable:

Insufficient binding to adhere the media to the sheet or board (support).

Fugitive:

Unstable colors that have or will diminish or suffuse into adjacent areas when exposed to light, moisture or solvents.

Gouge:

A groove, indentation or cavity resulting from an object pressing or cutting into the surface without completely penetrating the support.

Handling Dents:

Shallow creases (usually in or near the edges) created by rough handling.

Hinge:

A small folded rectangle of paper with adhesive (or tape) used to mount a sheet to a support. Usually part of a mounting or matting procedure.

Hinge Damage:

Damage created by improper application of hinges to a sheet. Self adhesive tapes may bleed through creating a permanent stain; excessive mounting adhesives may also create permanent compression of paper fibres.

Hole:

Open or hollow loss in the support.

Imbedded:

A variant of embedded.

Inclusion:

A foreign body enclosed within the mass of the paper fibres.

Infestation:

Over-run and invaded; usually associated with insects, bacteria or other microorganisms such as mold, although it can also pertain to other pests.

Inherent Vice:

Existing condition that causes deterioration of an object as a result of its original construction.

Insect Damage:

Numerous species of insects feed upon materials in paper borne works, inflicting damage which can be massive, resulting in partial or total destruction.

Insecure:

A damaged work which maybe in the process of deterioration due to weakening of materials or due to weakness in structure or construction; work will probably sustain further damage if moved or handled without immediate attention.

Liquid Stain:

Stain created by an unidentified liquid.

Loss:

>Missing area in one or more layers of image; most frequently the result of flaking, abrasion, tearing, skinning, insect attack, etc.

Loss Compensation:

Replacing loss areas (holes, etc.) with material not original to the work.

Mat Stain or Matburn:

Darkened area caused by acidic conditions related to the use of improper matting materials. See “Acidic Mat”.

Mend:

Reattach or reinforce cuts, tears, etc.

Mold/Mildew:

Any of various fungi growths that invade many organic surfaces provided sufficient moisture is present, producing enzymes that dissolve, stain, or degrade the host material.

Offset:

Planographic printing using indirect image through such as photomechanical plates.

Photo Oxidation:

Degradation of paper and/or media by light. In media this results in fading; in paper it results in destruction of the molecular structure of the cellulose paper fibre and can result, in extreme cases, in the total collapse and loss of the sheet.

Physical Degradation:

Degeneration of the overall structure.

Planar Deformation:

Structural deformation of the support whereby it is no longer flat or in place. (See Cockling and Buckling).

Powdering:

Insufficient binding media or failure of the binding media to adhere pigments to the support causing the media to become powdery, chalky or crumbly.

Previous Restoration:

A restoration performed prior to the current examination.

Primary Support:

>Material providing the foundation for the image. i.e. paper, vellum, etc.; called the “primary support,” when a secondary support is present.

Puncture:

Hole created by impact.

Scratch:

Loss in the media, which may extend into the support caused by marking the surface with something sharp.

Secondary Support:

Backing, backboard, mounting support or other material providing a foundation layer for the primary support.

Sheet:

A broad, thin, usually rectangular piece of paper serving as a support for media; drawings, watercolors, etc. are referred to by collectors as “sheet(s)”

Shellmark:

Crease in the pattern of a half circle; generally the result of a blow or impact when the object is rolled.

Skinning:

Excessive intervention resulting in losses of the original media; also called “over-cleaning” or “excessive cleaning”.

Smudge:

Smear or blur caused by dirt, soot or ink.

Soiling:

Dirt driven deep into the surface.

Split:

A rupture or tear running along the support, usually caused by stress.

Stain:

A discoloration, usually darkening where the media and/or support layer has been penetrated.

Stain Reduction:

Diminishing or removing discoloration.

Support:

Material providing the foundation for the image. i.e. paper, vellum, etc.; also, called the “primary support,” when a secondary support is present.

Tape Stain:

Staining caused by migration of the adhesive from self-adhesive tape into paper fibres.

Tear:

A rupture in the support layer as a result of tension.

Tenting:

Delaminating of paint or gouache along cracks where the delaminated media layers lift upward into a pattern resembling the peaked tops of tents.

Thinning:

Abrasion of paper or board support creating areas which are thinner than the surrounding support.

Tideline:

The dark line created by drying liquid, at the farthest point of liquid migration in the paper or board. The line itself is dirt transported by the liquid; the dirt embeds itself deeply into the paper fibres becoming tenacious and difficult to remove.

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:

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.

GLOSSARY FOR FURNITURE

Abrasions:

Loss of media (and often the ground) caused by rubbing or scraping.

Accretions:

An accumulation of extraneous matter on the surface of the painting that alters the original design, i.e. dirt, dust, grime, etc.

Adhesive Failure:

Deterioration of the adhesive to the point where it is collapsing, or has collapsed.

Age Crackle:

A network of fine lines created by embrittlement of the entire finish layer (as opposed to “crazing” which develops in the surface of the finish layer); continued expansion and contraction of the layer’s substrate exerts a force which the aging finish layer can no longer accommodate as it embrittles, resulting in crackle of the finish.

Aligatoring:

See “Traction Crackle”.

Batten:

A supplemental piece of wood attached to another wood surface to hold it in plane. Most frequently used with a panel and sometimes referred to as a “cleat.”

Bleaching:

Fading induced by the ultra-violet portion of the light spectrum. Found most heavily in with natural light, but also induced by florescent lighting.

Bloom:

Superficial cloudy area in varnish; most often caused by moisture penetrating the varnish layer. Similar to “blanching” although blanching can result from other causes.

Bole:

A clay coating used to produce a blemish free, smooth substrate beneath a top coating of paint, lacquer or a gilt top coating.

Check:

An incomplete, or partial, split along the wood’s grain resulting from uneven shrinkage in adjoining areas of the wood.

Chip:

A small loss resulting from force, tension or impact.

Cleat:

See “Batten”.

Cleavage:

A separation between two previously bonded layers of a structure such as inlayer veneer separating from its support, or the varnish layer peeling from a varnished surface.

Compensation:

Replacement of a missing material.

Consolidation:

The stabilization of a severely weakened material by the introduction of media designed to return strength to it. When possible, this consolidant media is inserted or injected below the surface to minimize visual alteration, but there are extreme instances where the entire object will be topically consolidated by spray or emersion.

Corrosion:

Degradation of material from a chemical or electrolytic reaction; generally applied to metal and stone degradation. Rust, bronze and cooper corrosion are several of many types of corrosion, but the most frequent found in relation to furniture.

Crazing:

A microscopic network of fissures in an old finish layer (varnish, lacquer or shellac) from age degradation. A hazy look resembling bloom but bloom results from moisture while crazing is age related.

Crackle:

A network of cracks in a finish or paint layer resulting from one of several different causes. See “Tradition Crackle” and “Age crackle”.

Dent:

A depression caused by a blow or pressure.

Disfigurment:

A change, which defaces, modifies or blemished the original appearance and intention of the maker; they may be intentional (as an element of a different style) or accidental (as stains).

Distortion (warping):

Concave or convex distortion parallel to the tree-stem axis.

Element Broken:

Forcibly fractured into two or more pieces.

Element Missing:

One which is lost.

Element Separated:

One which has become disconnected.

Fading:

In painted furniture, loss of brightness or brilliance of the color(s).

Figure:

The appearance of the wood surface created by its distinct grain pattern, resulting from the anatomical structure, irregular defects or coloration.

Fill:

Compensation in the replacement of missing material in a localized area rather than an entire element.

Finish:

The final surface appearance of the object. It may or may not have a surface coating such as wax, shellac, varnish, and lacquer.

Flaking:

Extreme cracking causing paint and/or ground layer to dislodge from the support, often through a combination of cleavage and cracking.

Flight Hole:

Holes created by wood boring insects, generally a wood beetle often it has matured from its larva stage and eaten its way out of the wood. These are referred to as “flight holes” because the beetle has now flown from this wood. (See ” Wood Beetle”).

Frass:

A crumbly, sawdust like refuse left by wood boring insects; generally associated with flight holes. See “Flight Hole”.

Fungus:

See “Mold”.

Gouge:

Depression or loss created by impact with a sharp object.

Graining:

A faux technique to replicate the appearance of a desired grain of wood (figure) using paint applied to a wood surface. A particularly valuable technique to restore missing areas of veneer when it is historically important to retain as much of the original veneer as possible.

Grime:

Surface dirt or dirt embedded in a finish.

Impact Damage:

Multiple losses, abrasions, tears, etc. from a major impact.

Inpaint:

Application of paint WITHIN the confines of a loss to re-establish visual continuity of the object. (See “Overpaint”).

Insecure:

Loosely attached, not firmly and securely attached.

Insect Damage:

Damage caused by a present or previous insect infestation.

Insect Infestation:

A colony of one or more species of insects actively living and breeding within an object.

Instain:

Application of stain WITHIN the confines of a loss to re-establish visual continuity of the object.

Joint Separation:

A separation between structural and/or decorative elements where they join together. Adhesive failure, shrinkage of the wood and disjoinment by force or impact and failure of previous repairs are major causes.

Loose Joint:

See “Joint Separation”

Loss:

A piece of material, element, etc. separated form the whole of the object.

Marbling:

A faux technique to replicate the look of marble using paint, applied directly to the wood surface.

Metal Hardware: Abraded

Gouged, dented or scraped by forcible contact with another surface.

Metal Hardware: Broken

Forcibly fractured into two or more piece.

Metal Hardware: Corroded

See “Corrosion”.

Metal Hardware: Distorted

Bent or misshapen.

Metal Hardware: Insecure

Attached, but loose and not firmly attached.

Metal Hardware: Missing

One which is lost.

Metal Hardware: Loss

A piece of the hardware separated from the whole of the hardware piece.

Metal Hardware: Over Polished

Repeatedly polished until the surface is no longer crisp or decorative features have been worn away.

Metal Hardware: Polish Residue

The remains of polishing materials left in crevices of the hardware, distinguished by a whitish or greenish white powder.

Mold:

Any one or more fungal growths attacking and disintegrating organic matter. Mold colonies are generally comprised of several different fungi; all of which attack the host organic matter.

Overpaint:

Oxidize:

A chemical reaction of oxygen with another material creating a change or reduction (binary compound) in the material being attacked by the oxygen. Metallic oxidation (rust, cooper and brass corrosion), organic oxidation of leathers, woods, textile fibers, etc. are most frequently associated with furniture.

Planer Distortion (Bend):

A distortion at right angles to the tree-stem axis.

Plate:

See “Batten”. However, plates are sometimes metal while battens are thought of as wood. Also called “mending plates.”

Re-carving:

To replicate a missing or broken decorative element by cutting material with sharp tools. If the carve use period tools, the carving can be duplicated more accurately, but one must be careful not to deceive.

Shim:

A piece of wood used to fill a void or stabilize a secondary element.

Splice:

A method of inserting one piece into another.

Split:

A continuous break in wood, along the grain, and completely from one side of the piece to the other.

Structure:

The visual surface of the object (e.g. veneer, etc.)

Stain:

Discoloration or spotting created by contact with a foreign material

Traction Crackle:

Cracks in a paint or varnish film caused by differential drying of two layers generally having similar but slightly different compositions allowing one to dry more quickly than the other resulting in the tradition of one of the two (or more) films splitting, or cracking, the layer. Also called “Alligatoring.”

Upholstery Deterioration:

Degradation caused by environmental elements; particularly the ultraviolet spectrum of light.

Upholstery Infestation:

An active colony of insects living and breeding within the upholstery.

Upholstery Insect Damage:

Damage caused by a present or previous infestation of insects.

Upholstery Mold/Fungi:

Active attack or previous damage from mold. (See “Mold”)

Upholstery Shreding:

Tearing into irregular strips.

Upholstery Understructure Problems:

Problems related to unevenness in the understructure, such as webbing, etc.

Upholstery Tear:

An opening rent or rip in the material created by force, or deterioration from age when the force of stretching the fabric is too great for its condition.

Water Damage:

Staining, planar distortion, finish damage, loosening or other damage caused by contact with water.

Warp:

See “Planar Distortion”.

Wax Build-up:

Accumulation from multiple layers of wax polish being applied without removal of the ones below the most recent layer.

Wood Beetle:

Any of various insects, which bore into or out of wood. Sometimes called “wood worm.”

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.

GLOSSARY FOR FURNITURE DECORATIVE ELEMENTS

Bole:

A colored clay used as a preparatory layer for gilding; its color determines tonality of the gold.

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:

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.