Embed Size (px)
Citation preview
Job:
Job No:
73 Cornwall Gardens
73CG-01
Date:
Version:
2018-05-01
0
John Bowmer Architecture 11 Barkston Gardens, Earl’s Court, London, SW5 0ER
t: 07894 706 160
e: [email protected] Method statements
These method statements have been prepared following a request by the Planning Department in
their Pre-Application Letter of Response. This letter appears as Appendix A to the Design, Access and
Heritage Statement
1. Method statement: Taking the overmantel mirror off the wall in the front room and
transferring the mirror to the pavement
Prepared by: -
Chic Deco Ltd
14 Robeson Way, Borehamwood, WD6 5RY
mobile 07578441455
www.CHIC-RENOVATION.com
2. Method Statement for the transportation of the overmantel mirror, plus personal statement
Prepared by: -
Will Treasure of T&L Transport
Mobile: 07970326664
3. Restoration of overmantel mirror
Prepared by: -
Ruth Tappin of Ruth Tappin Restorations
31 Compton, Leek, Staffordshire, ST13 5NJ
01538 385375
http://ruth-tappin.co.uk/home
4. Remounting of over-mantel mirror
See 2, above
5. Chimneypiece method statement
Prepared by: -
C Wright of PJ Wright & Son's Fireplace Restoration
Rear of 61/63 Westow Street, Paxton Mews, Crystal Palace, London, SE19 3RW
020 8771 9708
https://www.fireplacerestoration.co.uk/
6. A method statement for the removal of paint from cornices and ceiling roses
Prepared by: -
H S Restoration Ltd
94 Mile End Road, London, E1 4UN
020 7265 9073
7. Method statement for the servicing and refurbishment of the sash windows
Prepared by: -
John Bowmer Architecture
www.CHIC-RENOVATION.com
Chic Deco LTD
14 Robeson Way Borehamwood, WD6 5RY
mobile 07578441455 [email protected]
Method statement:
taking the over-mantle mirror off the wall in the front room and transferring the mirror to the
pavement
The method statement has been prepared at the request of the Planning Department of the RBKC. The work must be undertaken following the stages set out here:
1. Protect chimney piece 2. Install scaffolding towers on both sides 3. Cut the paint out between the mirror frame and the walls 4. Identify the hidden fixing elements 5. Prepare the soft support on the floor to sit the mirror 6. Remove the over-mantle mirror and sit on the floor to be protected with bubble wrap 7. Transfer the mirror to the pavement, ready for collection
Method Statement for the transportation of the overmantel mirror
Personal Statement by the driver
Hi my name is Will Treasure from T&L TRANSPORT. I will be the person transporting the mirror from
73 Cornwall Garden, London, SW7 4BA, to Ruth Tappin, Gilder and restoration, Leek, ST13 5NJ. I
have 20 years’ experience in transporting antiques and do work for various auction houses and
antique dealers. Mellors and Kirk (Nottingham), Basford’s Auctions (Derby) Newark Antique
Warehouse (Newark) Tim Wonnacott (Bargain Hunt) to name just a few. I drive a Ford Transit Luton
van with tie rails on both sides at various heights.
Method statement
Once the mirror is detached from the wall it will be carried in an upright position and secured using
straps and removal blankets and adequate packaging to the front and rear to protect the glass and
rear of the mirror. This process will be repeated when arriving at the destination. A total of 3 men
will be needed: two to carry to the van and one to receive the mirror on the van and to secure it
safely to the sides.
Ruth Tappin Gilding and Restoration
31 Compton, Leek, Staffordshire, ST13 5NJ
01538 385375 or 07879428844
www.ruth-tappin.co.uk [email protected]
Processes for restoring a Victorian over mantle mirror frame by
Ruth Tappin BA (hons)
A consignment note must be signed by the mirror owner and myself stating the restored value
of the mirror, so it is covered on the insurance.
Removing mirror.
This protects the glass from the restoration process and reduces the weight on the frame
joints as its placed onto the workbench and off again.
Screws are removed from the backboard and bagged for safe keeping. If the mirror plate is
loose, it is lifted out of the frame with the back board. If held in by wooden blocks these are
removed and bagged. The mirror plate and back board are stored upright on carpet, the glass
protected by sheets of cardboard.
Removing the paint.
This is best achieved quickly as long exposure to wet/damp will weaken the rabbit skin glue in
the gesso, turning it into powder. The compo will soften and loose crispness. The method and
materials that I use, I have found through experience to be the best and least damaging to the
gesso and compo. Paint stripper does not remove any original water gilding or bole, but any
oil gilding will be removed.
I use Paramose paint stripper, a fast-acting water soluble stripper. The stripper is brushed on
in one foot section, left on for around 5 minutes then removed with cotton wool. This is
repeated until all the layers of paint have been removed. The area is then brushed over with
methylated spirits to neutralise any stripper residue and removed with cotton wool.
Methylated spirit is preferred to water as it evaporates fast and leaves a dry surface. Continue
in one foot sections until all paint is removed. Any remaining paint in the decoration is
removed with a modelling tool or scalpel
Removing old restoration.
It’s important to remove any old repairs as often the wrong material has been used such as
wood filler or car body filler. Resin based materials do not form a good surface for the gesso
and compo, which are made from water soluble animal glues.
Old repairs are removed with a scalpel.
Repairing the gesso.
Gesso is rabbit skin glue and whiting mix. layers are painted over the wooden frame to cover
wood grain and form a smooth layer for the decoration.
Any chips, cracks or missing gesso is scraped clean then a rabbit skin glue layer brushed on
and left to dry for24 hours. Then the gesso can be brushed on in layers until the correct depth
is achieved. Once fully dry in 2-3 days, these repairs can be sanded flat to the same level as
the original gesso. Both rabbit skin glue and gesso are made fresh and to old established
recipes and ratios.
Repairs to the compo decoration.
Compo (composition) is a material whose main ingredients are pearl glue, colophony and
whiting. It is heated then pressed into moulds. This will harden over time. Compo can take
years to dry out, as seen by small cracks on antique frames. These cracks are often the points
at which compo can detach from the frame and be lost.
Any moulds that are needed are taken using silicone putty, ready in 15 mins. This is preferred
over liquid silicone, as no clay wall is needed which can add moisture to the gesso. Compo is
then pressed into the moulds, trimmed and left to dry for around 5 days. The back of the
compo can be heated and wetted on a hot tile, which activates the glue in the compo. The
compo will adhere to the frame. Any areas such as the side scrolls where moulds can’t be
taken (as the other is an opposite) is hand moulded in hot compo. Once set it is then carved
and sanded into shape.
Bole.
A clay based coloured paint. To give the gold a good surface for burnishing and a deeper
colour.
Any good original water gilding will be saved. A thin yellow bole is painted over any area
without original gilding. Pink then black bole (English Victorian bole colours) are added to all
the areas to be water gilded. This is sanded then polished with fine wire wool.
Water gilding.
The process of gilding using water, rabbit skin glue and alcohol to fix the gold leaf to the
bole.
I will use 23.75ct gold leaf. All areas which had originally been water gilded, will be water
gilded. Once the leaf has been applied and dried, I will burnish the gold with an agate.
Oil Gilding.
The process of gilding using oil size to fix the leaf to the bole.
I will use 23.5ct gold leaf. I will seal all the remaining frame which is not water gilded with
button polish, once this is dry the oil size is applied. The frame is then covered and left
overnight. When the oil is ready the gold is laid on with a brush. This will take around a week
to dry.
Aging the Gold.
New gold is very bright and needs toning down, especially if there is some original gilding
left which will need matching in to.
Any loose gold is removed with a soft brush. The gold then gets a pumice powder polish to
reduce the shine. Paints and powder pigments are painted and brushed on to simulate the dirt
and dust formed over the years.
Refitting mirror and back boards.
The glass is cleaned with glass cleaner if needed or water. The glass is put back into the
frame, reusing any wooden blocks, but not the nails if they are too brittle. The back board is
fitted back in. Mirror brackets are checked for sturdiness or new ones fitted if asked for.
Payment and collection.
Photos of the restored mirror are emailed for approval or the mirror viewed in person at the
workshop. Once approved payment is made before the collection of the restored mirror.
Examples of some of my Victorian over mantle mirror restoration, before and after
photos.
Painted frame. Paint removed.
Decoration repaired. Gilded and aged.
Painted frame. Paint being removed.
Gilded and aged
Side scroll with extensive losses. Side scroll repaired and gilded.
Side scroll was missing so a new one was added. Gilded and aged.
Gilding almost gone, gesso loss due to damp and decoration damage.
Repaired and re-gilded, new aged glass fitted.
Painted over mantle mirror with damaged foot and missing side scroll.
Restored and re-gilded.
Ruth Tappin Gilding and Restoration
31 Compton, Leek, Staffordshire, ST13 5NJ
01538 385375 or 07879428844
www.ruth-tappin.co.uk [email protected]
Personal statement.
Ruth Tappin BA (hons)
After completing a fine art sculpture degree in 1999 I joined the restoration workshop of
Molland Antique mirrors. Starting as a sculptor/modeller, learning how to make and work
with gesso and compo. This expanded into learning to gild. I was at this company for 5 years
until the owner closed the company and moved to France.
I started my own company in 2005. My first commission was for a nine months engagement
in a country house. Here I worked on extensive architectural gilding, both on internal and
external features. During this time, I restore various antiques including a Chippendale mirror,
and large picture frames. This intense period taught me a great deal and built on some of the
techniques learnt at Molland mirrors. Although I now consider myself an experienced restorer
and gilder, I still strive to learn and improve my knowledge. I have found that through reading
around the subject and through close observation, I have gained a keen eye for detail. A great
deal can be learned from understanding how a particular frame was constructed and how
older restorations have impinged upon the original work. learning through observation has
given me a good grounding in all the restoration processes.
After 18 years in this field, nearly all of my work has been for private homes or with antique
dealers. One public example of my restoration work can be seen in the entrance hall of
Claridge’s hotel in London. Seen here over the fire place.
www.CHIC-RENOVATION.com
Chic Deco LTD
14 Robeson Way Borehamwood, WD6 5RY
mobile 07578441455 [email protected]
Method statement:
transferring the mirror from the pavement and hanging on the wall
The method statement has been prepared at the request of the Planning Department of the RBKC. The work must be undertaken following the stages set out here:
1. The chimney piece have to be reinstate it and the painting to be completed 2. Protect the chimney piece 3. Install scaffolding towers on both sides 4. Prepare the soft support on the floor to sit the mirror 5. Transfer the mirror from the pavement, ready for hanging 6. Install fixing elements and hang the mirror on the wall
METHOD STATEMENT FOR RESTORATION OF FIREPLACE AT 73 CORNWALL GARDENS
Scope of Works:
Removal of Marble Fireplace
The wall around the marble surround will be chipped away to reveal all secret fixings.
The shelf will be removed by gently breaking key and lifting, the centre front panel will then
be removed in the same way leaving the outside legs and plinth blocks to be removed.
Transportation of Fireplace
The fireplace will be removed from site, in its component parts, protected and stabilised on
the vehicle for transportation back to our workshops. The same process will be used when it
is returned to site.
Restoration of Fireplace
The component parts of the fireplace will have Strip Away adhered to them and will be left
for 24-48 hours. The fireplace will then be stripped of paint, neutralised, cleaned and
repaired where necessary and finally waxed finished to bring out the colour of the marble
and protect it.
Installation of Fireplace
The plinths and outside legs will be put in place using fine casting plaster and secret fixings
in the wall, the centre front panel will then be put in place with fine casting plaster and
finally the shelf will be put into position with secret fixings into the wall and with fine casting
plaster between legs, front panel and shelf.
C Wright
The Fireplace Shop
020 8771 9708
H.S RESTORATION LIMITED 94 Mile End Road London E1 4UN
0207 265 9073 [email protected]
29th January 2018
A method statement for the removal of paint from cornices and ceiling roses
1 Sheet up walls and floor
2 Take samples from several different areas where paint is to be removed.
3 Apply 2-3 coats of mild solution of sugar soap (Sodium Carbonate). This process will clean all areas
and loosen certain paint types.
4 Test samples to determine whether the paint can be dissolved by an acidic or alkaline paint striper
5 Try to remove paint initially by the application of a steam jet. This is particularly suitable for very
decorative mouldings and is the safest method to prevent possible damage to plaster.
If required: -
6 Apply either or both depending on paint samples an acidic or alkaline stripper poultice
to all areas as required. This process needs to be done with great caution to protect substrate.
NB The above procedure may need to be repeated several times and be accompanied
by very carefully mechanical scraping of surfaces with a wooden scraper.
7 Apply mild neutralizing solution to all above areas as required
H.S RESTORATION LIMITED
Method statement for the servicing and refurbishment of sash windows
1. Remove all TV, telephone and IT cables and other obstructions which pass through the bottom rails of
sashes (or elsewhere) and prevent their free movement. Current cables to be re-routed, other cables to
be discarded. Ensure that any electrical cables have been isolated before work begins.
2. All window furniture to be removed and assessed for re-use. Items which cannot be brought back into
use to be discarded and replaced with idiomatically appropriate alternatives. Retained items to be
stripped of paint, repaired and cleaned as necessary. The pulley axles should be checked for wear and
discarded if beyond repair or close to failing. Ease pulleys where necessary and ensure all turn freely.
Care should be taken to ensure that all components from each sash can be identified when refitted.
3. Temporarily remove sashes, cutting away overpainting with a sharp knife where necessary to free them
from the sash boxes. Remove all paint form the sash-frames and sash boxes using a chemical paint
remover such as Peel-away 1 or Nitro Morse (following the manufacturer’s instructions), with special
care to remove all paint residues from the sash stiles and pulley stiles where they interface.
4. Repair the sashes, including cutting out any isolated areas of rot and replace with new matching profile
sections in Accoya, spliced in. Where such splicing is undertaken the glass should be temporarily
removed if necessary from the sash. Where the glass is broken it should be discarded and replaced with
a gauge of glass appropriate to the counterweights – it is highly likely that the weights are original and
would have corresponded to the weight of glass originally used. When glass is reinstated linseed oil
putty should be used, brought to a bevelled finish to match existing. All damaged or cracked putty
should be removed and replaced with new putty, similarly finished. In the event that the joints of the
sash have become loose, the whole sash should be dismantled, the joints cleaned and re-glued. In
extreme circumstances consideration may need to be given to the replacement of the sash, reusing the
glass if possible.
5. Remove all staff and parting beads from the sash boxes. Repair the sash boxes and sills, including cutting
out any isolated areas of rot and replacing with new matching profile sections in Accoya, spliced in. In
extreme circumstances consideration may need to be given to the replacement of the sash box, reusing
as much of the existing timber, if suitable, as possible.
6. Sashes and sash boxes should be repainted before re-assembly. The finished colour of the exterior faces
to correspond with prevailing local convention, interior faces to be painted in a colour of the client’s
choice, to be confirmed. Treat any knots with two coats of fresh knotting. Fill any fixing holes, open
joints and shallow surface defects with a suitable filler. Rub down with a suitable grade of abrasive
paper prior to applying undercoat. Remove all dust. All surfaces must be dry and free from anything that
will interfere with the adhesion of the materials to be applied. Spot prime bare areas with one coat
primer. All paint, whether primer, undercoat or top coat to be water-based and brush applied. The top
coat to have a matt finish.
7. Attach new polyester core sash cords in waxed cotton sleeving – such as Everlasto Weatherproof Waxed
Cotton Sash Cords from James Lever & Sons of Bolton, available from Rope Source Ltd. See :
https://www.rope-source.co.uk/categories.php?cat=Waxed+Cotton. Anticipated length of sash cord
required is ~60 metres. The cord should be sized according to the width of the groove in the sash pulley
wheel – even the slenderest sash cord (No 1 size = 5mm) has a breaking strength (320kgs), greater than
the maximum sash weight at the flat, which is estimated at 75kgs. The size of cord should be the largest
uniform size which will fit the pulley wheels on all 10 windows – a total of 40 pully wheels.
8. Check balance of sashes and adjust as necessary. If the balance is poor consideration should be given to
replacing the glass for a gauge consistent with the weights, especially if it is believed that the weights
are original, and the glass is not.
9. Fit new FSC Certified staff and parting beads fitted with carriers for removable brush pile weather strips.
The size of the new parting beads and staff beads should correspond to the size of the existing. Draftfix
do both timber staff beads and timber parting beads in a range of sizes, which can be found here:
https://www.draftfix.co.uk/ecom-catshow/timber_staff_beads.html and here:
https://www.draftfix.co.uk/ecom-catshow/timber_parting_beads.html . A one-size-fits-all solution is
not acceptable.
10. Fit existing or replacement window furniture, new parting beads and staff beads and rehang the sashes.
Retouch paintwork as necessary.
