Category Archives: Gilding

CARVING A NICHE – PATRICK DAMIAENS, ORNAMENTAL WOODCARVER

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ABOUT PATRICK

Paddy

When Belgian woodcarver Patrick Damiaens was a child, his parents took him to the castles and museums of Europe where he encountered and began his love-affair with ornate, hand carved furniture.  The intricate centuries old craftwork inspired young Patrick and he took the first steps towards his goal of being able to imitate the old craftsmen of previous generations and to be able to produce unique and breath-taking wood carvings for bespoke furniture in the Liège style that he adores.

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Patrick studied ornamental carving for three years at the prestigious Don Bosco Institute in Liège.  But first the dedicated student undertook six years of instruction in furniture making at the Sint-Jansberg College in Masseik followed by one year of training in woodcarving.

Now Patrick Damiaens’ Liège style woodcarvings are highly sought after ever since he began working for himself in 1992 and he is the only full-time ornamental wood carver and sculptor in Flanders, Belgium.

A dying craft, Patrick may soon be as unique as the exceptional carvings and sculptures he produces.  It is a privilege therefore to have access to the methods and imagery of the outstanding wood carvings of Patrick Damiaens.

INTRODUCTION TO PATRICK’S WORK

When you commission a piece of furniture from Patrick Damiaens, you are guaranteed three things – remarkable work, a unique item in a definitive style and the knowledge that there is no one producing work quite like him.

Although trained in furniture making himself, Patrick has such a dedication to his craft that he works in conjunction with cabinet makers, a furniture restorer and stair maker, in order that he can give his undivided attention to his exquisite wood carving.

Patrick’s work is in the Liège style, where the finest quality wood panels are painstakingly carved in an elaborate and ornate style dating back to the 17th Century.

A Patrick Damiaens original is identifiable by his signature dragonfly, carved into every piece of work.

DESIGN

The first thing to note in Patrick’s process, is that there is no design to pick from the shelf.  All of Patrick’s designs are tailored to each client from scratch.  As a result each piece takes time and patience and this is reflected in his waiting lists, costs and production times.

Technical drawings are produced with meticulous attention to detail.  Dependent on the level of intricacy, these preliminary designs can take up to a month to produce.

Patrick Damiaens

Patrick Damiaens

An initial pattern is made up which can be based on a Patrick Damiaens Liege-style original or an alternative piece selected by the client.

Once the client has examined the preliminary design, any changes are made as necessary and a final draft is produced on tracing paper, ready to be transferred to the piece of furniture in question.

stage1

CREATION

Although almost every aspect of Patrick’s work is carried out painstakingly by hand, the start off process for any piece involves the use of machinery.

The finalised design is transferred onto the item of furniture and then an electric milling machine is used to eliminate a large proportion of the excess wood from the project.

Once this has been done, Patrick removes any rough edges and remaining surplus wood with his own custom scraper.

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Patrick uses his prized collection of Swiss and German chisels to delicately begin the process of carving intricate and exquisite detail into his subject.

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Once the lengthy process is completed to Patrick’s high standards, the piece is handed back to the cabinetmaker to treat the wood and integrate the carved panel into the final item of furniture.

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RECOGNITION

As well as producing extraordinary furniture, Patrick teaches his craft and writes a blog detailing his work and accomplishments, as well as inspiring future generations of wood carvers.

In honour of his exceptional craftsmanship, the Belgian Federal Government awarded Patrick with The Golden Badge of Honour – “The Elites of Labour”.

Patrick tells us more about the award and what it means.

“Every year hundreds of Belgians from various industries are given the badge of honour for the “Eliten van de Arbeid” (Elites of Labour), to praise them for their professional efforts and merits. This nomination is awarded by royal decree and is published in the Belgian Bulletin of Acts, Orders and Decrees.

On the one hand, a badge of honour is awarded during an official event, and on the other hand, a certificate is traditionally presented by the mayor of your municipality.

For 25 years now, my activities as a woodcarver have been a constant source of pleasure and satisfaction, and I even consider my work to be a personal quest, wherein my goal consists of bringing quality work to my environment, as an ambassador of sorts, who wishes to introduce the next generations to the complexity of my profession

This passion and attitude towards my profession has not gone by unnoticed by a number of technical committees, experts and jury members of the “Elites of Labour”(Eliten van de Arbeid) from the wood industry.”

Golden Medal of the Elites of Labour.

Golden Medal of the Elites of Labour.

Patrick  also restores pieces, creates unique panels and specialises in heraldry.  Here are some more examples of his incredible work.

Custom made family coat of arms

Custom made family coat of arms

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P1050327patrick damiaens 1

PD 005 ok   architectural woodcarving

More information about Patrick and details of his work can be found here:

https://www.facebook.com/patrick.damiaens.ornamental.woodcarver

http://www.patrickdamiaens.be/eng/index.html

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VERT DE MER FAUX MARBLE – A TUTORIAL BY LAURENT HISSIER

 

Laurent Hissier

Laurent Hissier

Laurent Hissier was born into a musical family in 1965, in Périgueux in the Dordogne in France.  He began working at the Palace of Versailles in 1990 as a night security man. In the ten years that followed, he developed a deep fascination with the painted and gilded panels and furnishings that surrounded him on his nightly rounds.

In his spare time, between playing in various blues bands, Laurent began to practice painting small panels, teaching himself and figuring out the techniques and finishes that appealed to him so much.

On a visit to the gilding and restoration workshop in the palace to seek advice on a panel he was working on, Laurent met Daniel Sievert, the head of the restoration department, who freely shared his knowledge. During one of Laurent’s many visits, Mr. Sievert mentioned that he could do with an extra pair of hands and after applying for a transfer from the security department, Laurent began work as a gilder and painter in 2003. His duties included making pedestals and frames for works of art in the palace and restoring the existing furnishings, all under the watchful eye and tuition of Daniel Sievert, who trained him in the traditional gilding technique used throughout the palace.

In 2004, Laurent met Pierre Lefumat, who trained him in the techniques of marbling, faux stone and patina. Laurent published a book along with Daniel Sievert in 2011, ‘Gilding at Versailles’ which is an invaluable resource for anyone with an interest in the subject. When Daniel Sievert retired, Laurent was promoted to the position of head of gilding restoration.

After reading Laurent’s inspirational story on Pierre Finkelstein’s website, I contacted him online some years ago and a firm friendship developed. He is always very generous with his knowledge and here he takes us through his method for creating Vert de Mer, or sea green marble.

Palette

Palette

 Sea Green Imitation – by Laurent Hissier

I use the technique of Acrylic and Oil on a black background.  The materials required are as follows:

Acrylics:

Palette: Chrome Oxide Green, Titanium white

Other materials:

Natural Sponge, Spalter medium, small, Twin head brush http://www.boesner.fr/pinceaux-art-du-faux/7364-leonard-chiqueteur-2-meches-petit-gris-3660599030276.html, Small pointed brushes, Badger

Oils:

Palette:  Green English 1, Ivory Black, Titanium white, Red Ochre, Prussian Blue, Blue overseas, Natural Siena, Bitumen

Other materials:

Badger, Spalter, Three strands or chiqueteur, sable brushes flat, sharp Brushes: medium and fine

Toothbrush, Glaze: 2/3 turpentine – 1/3 linseed oil, a few drops of dryers

DAY 1

ACRYLIC WORK

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 Degrease the surface with whiting and a damp sponge

  • Rinse and dry the surface
  • Make a mixture of white and green and begin to glaze the surface with the sponge very lightly and soften with the badger
  • With twin header start fundamental work with a slightly white glaze, and layout the marble.
  • This work is long, varied; use sponge to break these veins and smooth.
  • Wash the twin header before creating different shades.
  • Gradually add white to the colour and continue.
  • Make effects with small Spalters, sponge, soften
  • Using fine brushes and always with the glaze begin to realize the veins of varying size.
  • Create thicker veins in places
  • Marble is built at this stage, think about making very light veins that will sometimes be chopped, cut, broken, etc.
  • Vary how the brush is held.

OIL WORK:

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  • Mix bitumen with the oil glaze and achieve effects, soften
  • Allow to dry

DAY 2

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  • Glaze the surface, spread well with a spalter
  • Take white, green and repeat the same work as acrylic, sometimes on painted veins, sometimes not, using flat brush or pointed.
  • Build colour always very gradually
  • The direction of the grain may have a different meaning or overlapping with the veins made with acrylic.
  • With a very dilute Prussian blue create subtle stones.
  • Take a sable brush and work with the tip, alternating very thin veins and thicker.
  • With another flat brush create black pebbles sparingly.
  • Do the same thing but with pure white.
  • Spatter with a toothbrush with a mixture of turpentine and pure white or slightly tinted, but also with pure black.
  • Using the twin header, making a discreet cobblestone effect and only in places with red ocher
  • Let dry and varnish

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Some examples of sea green marble painted by Laurent Hissier

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Laurent Hissier is currently working as a freelance gilder and decorative painter at the Articuci workshop in the south of France, and teaches courses in order to pass on his craft.

More details of Laurent’s work can be found here: Atelier Articuci

Methods and Techniques for the Ecclesiastical Restoration of a Statue of St. Joseph

ECC

Raimonds Karveckis has completed advanced gilding at FlorenceArt studio of decorative arts in Florence, Italy and studied restoration techniques under the tutelage of Laurent Hissier, former restoration specialist at the Palace of Versailles in France and now a freelance master craftsman. Originally from Latvia, Raimonds has been based in Ballina, Co.Tipperary, Ireland since 2001, where he is well known in the area for his artistic abilities and he is the owner of Ecclesiastical Restoration Workshop.

http://ecclesiastical-restoration.ie/

ECCLESIASTICAL RESTORATIONS WORKSHOP

Using restoration techniques and materials sympathetic to the period in which the objects were made, the creative team in the workshop can undertake the repair and restoration of religious artefacts.

This includes specialist paint effects on walls such as frescos and gilding on dados and plaster trims as well as repairs to paintings and frames, furniture, metal ware, gilded objects, candelabras and other furnishings.

Of particular interest is the restoration of Church Statuary which includes nativity sets, statues, saints, altars and more.

Ecclesiastical Restorations is also an associate member of a network of antique restorers who work throughout Europe and America on government and privately backed restoration projects.

EXTENSIVE RESTORATION OF A STATUE OF ST. JOSEPH – METHODS AND TECHNIQUES

A local priest found this statue in a shed, where it had been neglected for 20 years and brought it to Raimonds for repair and restoration. Raimonds immediately saw the quality of the statue, only a high quality of plaster and workmanship could have resulted in its survival in such conditions. He puts the age of the piece at between 100 and 150 years old.

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The biggest repair job was to reattach the head. Raimonds first had to gain access into the statue, this was accomplished by cutting a section out from the rear, and he then made a wire armature and attached this first to the head and then the body after seating the head correctly with a two part epoxy resin.

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While working inside the statue, the chest area was found to be extremely thin. This was reinforced with plaster of paris and the gaps around the repaired head were filled out, taping the outside to hold the plaster in place.

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The panel was then replaced in the back of the statue and plastered in.

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The statue was missing a hand, so Raimonds commissioned a local sculptor to create a mold, from which a replacement was cast and attached using an armature and epoxy. The repair was again made good with plaster of paris.  The flower had a replacement stem made of plaster over a wire armature attached and was fixed to the statue.

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Cleaning, Painting and Gilding

After cleaning the statue with a specially made solution it was discovered that the paint on both faces could be saved. The rest of the statue was carefully sanded and hoovered before priming in a white basecoat.

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The paintwork on the heads and faces was touched up with casein paint as this was the paint most likely to have been used originally, unfortunately at the time casein paint proved hard to source so Raimonds used chalk paints on the main body of the statue. As the statue was to be placed up high on the wall of the church it was not necessary to seal the chalk paint.

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Raimonds moved onto the gold leaf ornamentation of the statues, a process that was to take a month to complete. The designs were laboriously hand painted in yellow ochre casein paint before being sized and gilded, a testament to the patience of the craftsman!

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To finish, a wooden base was commissioned from a local carpenter and this was finished in an old master technique by Raimonds. The wood was sealed with hot rabbit skin glue, then 12 coats of gesso were applied and carefully sanded before painting with casein paint, distressing, hand painting the ornament and sealing with shellac.  The base was then attached to the statue with evo bond universal pva.

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From start to finish the entire restoration process took a total of three months. The statue can now be seen on display in Our Lady & St. Lua church, Ballina, Co. Tipperary, Ireland.

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DECORATIVE SANDBLASTED AND REVERSE PAINTED MIRRORS

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Mike O’Regan fitting the reverse painted pub mirror!

 

As a natural progression from the traditional sign writing side of my business, I developed an interest in reverse painted and gilded glasswork and have been honing techniques and styles ever since.

Here is a brief introduction into some of the work I have been commissioned to produce and an insight into the skills and methods I am learning and developing while doing so.

SANDBLASTED AND REVERSE PAINTED MIRROR

I was commissioned by a local public house to produce a vintage style oval mirror featuring the name of the establishment.  As I had produced many pieces for them previously, I was given a free reign with the design, the only condition being that it featured green and gold.

The first step was to come up with the design, ensuring that it both kept to the client brief and was a workable design using the method I had selected.

Initial Concept

Initial Concept

Approved Design

Approved Design

 

Once approved, the design was vectorized and produced on my plotter to cut a vinyl mask in reverse for the back of the mirror.

Stencil being applied

Stencil being applied

Fully applied stencil

Fully applied stencil

The mirror itself was then completely masked for protection so that only the cut away parts of my design were visible.  I then sandblasted the design into the mirror using a standard glass etching abrasive and fortunately I have the use of an industrial sandblasting cabinet for good measure!

The masking was then removed and the mirror cleaned with methylated spirits before painting.

Removal of stencil

Removal of stencil

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Clean and ready for painting!

Clean and ready for painting!

At this point, the mirror could be framed and reverse lit if one so wished, however this one was for painting so I decided to use metallic gold paint sparingly on the shadows of the lettering and some of the minor details.  Hammerite was used in this case as it is has a thick consistency so a single application gives the required coverage.

A golden tone of gloss paint was used on the acanthus design and of course the required green was applied – ordinary oil based gloss paints are fine for this. My trusty mahl stick came in handy for the detailed picking out process, both to steady my hand and to keep it out of the wet paint.

Painting in progress

Painting in progress

Once completely dry, the painting was backed up with an oil based undercoat and the mirror framed and fitted onsite.

 

Finished!

Finished!

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STRIPPED PAINT AND CHEMICALLY REMOVED SILVERING

This is a slightly more tedious process due to modern strippers taking on average two days to remove the backing paint from the mirror in order for you to work directly on the silvering.

It does however, open up a whole new choice of techniques as you can oxidize, antique or completely remove the silvering once you have it exposed. An added bonus is that Gold leaf can be applied to stripped areas without losing any of its lustre as it would with a sandblasted piece.

Here is an early experimental project that was distressed a bit more than I would have liked, however you can see how sharp the graphics look and the effect of the gold leaf.

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For this example I produced a ‘sea shanty’ mirror using a graphic that I liked the look of so I just vectorized in a sign program to make it useable.  I wanted this piece to have an antique rustic appearance about it, and was very pleased at how it came out.

The backing paint was removed from the mirror using paint stripper – it is important to let it soften completely, then carefully scrape it off using a plastic scraper to prevent the silvering underneath becoming damaged.

Once the paint is off and the glass is cleaned with methylated spirits, a cut vinyl stencil is applied as in the previous project.  All other exposed areas are masked off for protection.

Stencil on glass

Stencil on glass

I removed the silvering through the stencil using household bleach at full strength.  This is best done with a cotton bud and wearing gloves of course!  In a matter of seconds, the silver dissolves.

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Once the area has been de-silvered the glass is thoroughly rinsed under cold running water to remove all traces of bleach. The stencil can then be removed.

Removal of stencil

Removal of stencil

I decided to antique the piece at the edges and this was accomplished by gently dabbing wrinkled newspaper in bleach then applying to the silvering.  Again, rinse immediately in cold water.

The glass was then backed up with a chestnut brown spray paint (Painters Touch) to add colour to the clear areas and protect the remaining silvering.  I then made my own frame as detailed below.

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A BRIEF NOTE ON ANTIQUING THE FRAME

The frame for this piece was made of pine which was then whacked about and beaten and bruised with a wire brush and other implements.  A rough coat of black satin was lashed on and force dried with a heat gun to make it blister.

Crackle glaze was then applied and dried before top coating in powder blue. The heat gun was then applied immediately which caused the dramatic cracking effect.

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A wash of walnut wood stain was then applied and sanded when dry.  The wash reactivated the crackle glaze and some of the powder blue flaked off to reveal the black.

When completely dry I applied a coat of oil based matt varnish to strap down the layers.

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As an afterthought I added patinated corner brackets to give the look of an aged frame that had been reinforced.

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I hope you enjoyed following these processes, more to come!

MIKE

 

Clock Dial Restoration – St Firmin’s Church, North Crawley

David R Agnew is a respected Craftsman Decorator from Newport Pagnell in the UK and in this article he gives a step by step account of the methods and techniques involved in the complicated and delicate restoration process of the Clock Dial at St. Firmin’s Church in North Crawley.

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Clock Dial prior to restoration

 

A diary slice of the Clock Dial restoration.
David R Agnew LCGI
Craftsman Decorator
Newport Pagnell

Just started this today, should have been six weeks ago, but have been waiting for
the faculty from the diocese to arrive.

So…arrived this morning to instruct the scaffolders’ of my requirements. So thought,
while I was waiting for them to erect it, I would start having a poke around, taking
pictures & documenting the job.
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Scaffold being erected

The job consists of three items, the clock dial, the leaded window underneath the
dial & the gilding of the weathercock -which has already been completed.

Clock 3

So, poking around I went into the church & found the door leading to the tower, as
for me, this would be the route to access the scaffold. Up a winding stone staircase
which is only 2′ width & terminating at the clock room, where there is a door in the
far corner which takes you to the back of the dial.
Clock 4

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The movement is ‘J Bennett of 65 Cheapside London’ I believe this was installed in
the Victorian era.

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First thing I notice is that where I need to work, it is completely filthy, covered in cobwebs and
years of dust etc, this was going to be my first job -clean up. I can’t stand working in a mess
before the work even starts! I do this, because I want to get absorbed in my environment,
working in old buildings takes on a different pace for me & it helps you to take in & notice
tiny details when not rushed or jumping straight in.
However, I knew that the first day would be about thinking the job through and formulating the
work plan in my head -time spent thinking is never wasted.
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I decided to investigate the window, and discovered that I could take this out from the inside,
fortunately, it is in it’s own wooden frame which is in pretty good condition, so will refurbish
the frame. The leaded window itself has not faired well, and I have decided that I will just make
a new one, the lead cames are very thin and with so much glass missing, it isn’t really
economical to repair. The window is approximately 120 years old and I would guess it was
installed the same time as the original clock movement and dial etc. The iron tie bars, which
are there to help support the window, are unusual to me, they are thin at one end. This is
because the thin end has been driven onto the frame and then secured with a clout nail in the
flange at the other side. All the ones I have seen in the past have just been the same
thickness and built into the frame, or a fixing flange at each end -so, just a little detail I picked
up on. The whole window, will be taken back to the workshop, where I will take a rubbing and
make a new one based on that.

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After doing the rubbing I take the old panel apart, soak all the reusable glass in ‘Krud Kutter’
–a sugar soap type cleaner. I have been fortunate in the past, as I have always saved old
glass from when I have had to do repairs on box windows and the like, so I have plenty of
spare bits to make this window complete with all old crown or muff glass.
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Second morning, I am still missing the tarps to keep the weather out, so the
scaffolders’ have to come back for that. Anyway, thought I would have a close look
at the dial. Firstly, I wanted to establish what material it was,and yes, it did turn out
to be copper. The previous paint job was very rough, not to our usual painting
standards. Although the gilding seems fairly bright & in reasonable condition, the last
job is not entirely honest, as you can make out, that who ever did it, didn’t paint the
whole dial with a system, then sign write and gild in the proper manner, because you
can see where the numerals have been gone round and where it is grey in between over
all, is not a very tidy job. When it is viewed whilst 40 feet in the air and from a
distance, it isn’t noticeable.

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Nevertheless, I proceeded to take measurements of the numerals and make notes. I
then covered the whole dial with drafting film and took accurate tracings of the existing
layout, when I get the latter back to the workshop, I will lay it out on the drawing
board to make the final adjustments to accuracy and then prick it to convert the draft
into the working drawing for later transfer.
With all the note taking done, I then started to prepare the copper dial. I abraded
the existing coating with 60 grit, using mechanical sanding with extraction, because
of the dangers with possible lead paint being present. The whole Is in very sound
condition, so washed down, after sanding with ‘Krud Kutter’ and then applied a first
coat of Rustoleum Alkythane, a satin finish industrial coating which weathers by
erosion. Colour RAL 5009

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Now I turn my attention to the dial back boarding. Most of the moulding has
decayed, so I need to sort some new out. The existing mould consists of three parts,
I didn’t think it was particularly special, but the fact that it is made up from three
different components lends itself to fail on the moisture ingress front. After removing
the lower five sections around the base board, It was quickly becoming apparent,
that the base boarding itself had decayed in several places. This lead me to ask
questions about the integrity of it fixings. Should I just patch up, with new hardwood
mouldings and just screw the copper dial back on? No was the answer. The effort for
the scaffold, the cost of doing all the signwriting, painting and gilding would just be
wasted.
A date on the board was 1957 signed ‘EB’ the style of mouldings and the whole feel of
this dial ties in with the date. We think ‘EB’ is a local builder called Eddie Brandon. I
felt nothing was going to be lost, or no architectural feature of any note would be
destroyed by deciding that this boarding had seen its life and if I was going to do
things with integrity, then I needed to make a new one. Thinking about it, this board
had served 60 years, so maybe the one before this, had lasted about the same, if it
was installed the same time as the movement. The copper dial itself certainly ties in
with the movement, as it bears the same maker’s name.

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I would make a new one from English oak and do it in the same way as the last one two
layers, horizontal boards overlaid with vertical boards, each board
thickness15mm making a total of 30mm. I commission the local joinery shop to
machine up my requirements. In the meantime, I apply another coat of Alkythane to
the copper dial and head back to the workshop to make a start on the window.
Having had a phone call to say my oak was now machined up, I went to collect this and
start with earnest. Laying the boards out, I start to screw them together, using
stainless steel screws of course, as the tanning in oak will corrode steel ones. I first
make a square with the boards, then find the centre by marking diagonal. Using a
compass I mark out 1240mm, being the diameter of the dished copper dial. I can
now determine where to mark out the mouldings and cut the board to the octagonal
shape. Lovely to return back to the technical drawing days and summon the rules of
geometry, It’s been so long, I thought I’d forgotten!!!
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There is a space between the back of the clock dial bottom and the top front of the
window beneath. This little board, takes up this space and the window splay. The other
one as you can see from the picture, is riddled with woodworm and decay. So….made
a new oak one, but thought I would include a quatrefoil for ventilation, which I later
covered with pierced aluminium mesh.

14a
With all the glass cleaned, I cut some new quarries from old glass, so that it is ready
for assembly with new lead came. Whilst I am at it, I did measure up for some very
small slit windows which are in the access turret. Currently, one has a pane of float
glass in and two more have a wood frame covered in decayed chicken wire, it won’t
take me long, so may as well make these three and I can finish it all off together, as I
loathe making up and using lead light cement, which is worked into the leaded panels in order to weather proof them and stiffen them up.

The slit windows will need a little frame, so I machine some simple frames from oak,
they are only very slim -about 6″ in width, so I just butt join them with glue and
mechanically fix them with brass screws. I added stop chamfers to the inside of the
frames just for a bit of detail. Luckily, they seem to fit in their new home, so just pointed them in lime with mortar of course.

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When joining the mitres, I decided to use Repair Care, Dry Flex 4 hour, flexible
epoxy resin as my secondary fixing, used in conjunction with Repair Care, Dry Fix
stabiliser which is applied before the resin. I used stainless steel screws as my
primary fixing, which were screwed in from the back, about five screws in each
moulding section. It is my hope that this will stand the test of time, if the mitres do
open up, at least the end grain will be completely sealed with the stabiliser, to thwart
moisture ingress which had claimed the last moulding design.
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I wanted to do something creative with the mitres, I had in my mind about flattening
off the mitres with an infill piece, possibly protruding into the spandrels to fill that
space. I thought I would cast some lead detail such as small Tudor roses, or just
domed buttons to place on the flat areas. Anyway, another time perhaps, but in the
end, I decided I would terminate the inner bead of the moulding into a protruding
18mm hardwood ball, as this would not be vulnerable as a moisture trap at the lower
part of the dial & when the rest of the frame is blue, I would gild these to accentuate
this tiny detail. After drilling a shallow hole & countersinking the bottom, I stuck
them in with Repair Care Dry Flex SF.

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I thought I would do something else creative with the centre, rather than just drill a
hole for the shaft for the hands, I decided to do a quatrefoil & routed a V groove for
the vertical and horizontal registration lines. A bit bizarre & over the top for something
that isn’t seen, but I thought it would be fun & appropriately ecclesiastical.,
somebody will see it one day. After abrading everything with 80 grit, I then apply one
coat of low build stain to penetrate the timber and afford some first coat protection.
18
The old dial back boarding, it is completely shot, so am pleased I made the decision
to remove it. The old dial fixings, were through some rusty straps at the back, I do
not intend to re-use these as the primary fixing, although I will at least drill two
more holes and bolt it, to lock all the old and new together, thus leaving them there.
I then coated them up with ‘Owatrol’, to inhibit further corrosion. At the same time,
whilst it is accessible, I coated the back of the motion works board with Sadolin
quick drying preserver.

19
I used four stainless steel 6″ studs which are resin fixed to the stone wall. In
addition, to support the weight, I drove in two stainless steel spikes 300mm x 15mm
x 10mm thick at the lower angles of the octagonal board for extra security in
supporting the weight.
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Hauling the dial up fourteen meters was no easy task, I rigged up a gantry gallows
bracket on the scaffold and used a block & tackle to half the weight. Luckily, I did not
have to do this on my own, helped by my brother, Richard Agnew and North Crawley
resident and friend of the church, John Plummer.
21
The juncture between the back of the clock dial boarding and the stone wall, was fairly
tight on one side, but on the other there was a gap of around 1″ -enough for small
birds to get in behind. Previously, this was taken up with mortar. When I took down
the old dial, it was very damp behind, so felt it would be better to maintain that air
gap, but stop moisture getting in. I used the existing lead flashing and dressed this
over the top and two angles. Then, I thought I would dress some lead down the
vertical sides, to seal this juncture. I used code 4 flashing and fixed it using copper
nails, after trimming to shape I then applied patination oil to improve its appearance.
The return flash was pointed using lime mortar for elasticity.

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Bringing back into play the draft tracing taken earlier, now made into a working
drawing, I start to transfer the original layout using chalk. I used 20 hour gold size and
proceeded to gild the next day using extra thick pure 24 carat gold leaf. Conditions
were very windy and fairly cool, I managed to lose a couple of leaves and the size was
gluey to apply. I double gilded the hands and the faults the rest of the gilding, before
applying one last coat of Sadolin Superdec opaque satin finish -six in total and five
coats of Alkythane for the copper dish.
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The oak infill piece with the quatrefoil vent mentioned earlier, I think this picture
explains its function more clearly. I left this finished in Sadolin Classic low build
‘Catalina grey’

BEFORE AND AFTER

BEFORE AND AFTER

The job is finished now, with the scaffold down, here are the overall pictures.

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ST. FIRMIN'S CHURCH COMPLETED CLOCK DIAL RESTORATION

ST. FIRMIN’S CHURCH COMPLETED CLOCK DIAL RESTORATION