This
black lacquered clock has a cast iron case. It was dismantled
prior to stripping and finishing with new acrylic lacquer.
The
new finish is identical in appearance to the original.
A new paper dial was fitted to the pan. The metal adornments
were lightly electroplated and the brass bezel was cleaned
in dilute acid and polished.
The
metal parts of this case only needed careful cleaning
and polishing.
The
black lacquer finish on this clock was badly crazed and
it appeared to be a write-off.
Prior
to stripping, the intricate gold inked patterns were copied
onto a stencil so that they could be reproduced after
the new lacquer was applied.
This
American Ansonia (movement, dial and pendulum removed)
was the subject of an aborted restoration by the owner
and was delivered to me in pieces. Some parts were missing
and others broken. Structural repairs were carried out
and missing pieces reproduced. A new glass pane was cut
and fitted using the original beading and brads. A new
brass door catch, identical to the original, was fabricated
by hand. The finish is French polish.
This
case is solid timber (walnut I think) and was missing
a section of the pelmet molding. A replacement was fabricated
by hand. The numerous solid brass adornments were removed
and cleaned prior to applying fresh French polish to the
case. The individual enameled porcelain numerals were
removed from the cast brass dial prior to cleaning and
polishing.
This
French "Four Column" clock (movement, dial
and pendulum removed) is intricately inlayed with mother
of pearl, ivory, brass and ebony. Much of the inlay
was loose and many parts were missing. New inlay was
fabricated and, after many hours, every thing was put
back into place.
The
wooden pieces above and below the columns are faux marble.
In this case the finish was irreparable and was reproduced
with colours that match the original.
The
spectacular grain in the veneer on this unusual "art
deco" mantle clock is an excellent example of the
transformation that occurs with new French polish.
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