BAFRA News

• Report on the BAFRA-Sonneborn & Rieck Award 2004
• BAFRA Events during 2003
• 8th Annual BAFRA Students Conference 10th March 2003
• BAFRA Events during 2002
• Report on the BAFRA-Sonneborn & Rieck Award 2002
• 21st Anniversary for BAFRA
• The BAFRA Furniture Report
  
  

Report on theBAFRA-Sonneborn & Rieck Award 2004
by Robert Tandy, Organiser

This year the Student Award was again very generously sponsored by Sonneborn & Rieck in the recently extended Manchester City Art Gallery, a wonderful venue sited in the heart of the city, which provided excellent facilities and an appropriately impressive backdrop for the day’s event.

Following coffee in the Café Bar, competitors, judges and guests assembled in the lecture theatre where each of the four finalists had set up displays of their furniture along with accompanying project documentation and photographs.

BAFRA Chairman Michael Barrington opened proceedings by welcoming the assembly and introducing the Judges Panel: Andrew Durham, Keeper of Conservation at NM&G Merseyside
Adrian Smith, BAFRA Full Member and President (Co-ordinator)
Anthony Allen, BAFRA Full Member, Stockport
Jeffrey Hall, BAFRA Full Member, Malvern
Richard Higgins, BAFRA Full Member, Shrewsbury
Eric Smith, BAFRA Full Member, Darwen
Gerald Langley, BAFRA Full Member, Newark

Whilst each entry was quite varied in the complexity and nature of the problems to be addressed, the judges were extremely impressed by the quite excellent quality of all the projects and the thoroughness of approach displayed by each entrant in the conservation-restoration process. The Judges therefore had an arduous task in front of them when considering the following finalists:

Matthew Allen—A 19th Century Boulle Card Table (ManCAT)
Piran Harte—Charles II Walnut & Marquetry Cabinet on Stand (Bucks & Chilterns)
Patricia Lynch—Victorian Walnut Worktable (Rycotewood)
Aki Mizobuchi—19th Century Dutch Bureau (Bucks & Chilterns)

The finalists were called up individually to present their projects to the Panel and to discuss the methods they employed in addressing each object, as well as the research and ethical issues which form an integral and vital aspect of professional conservation-restoration work.

Having completed the interviews by early afternoon, it was then left to the judges to discuss the merits of each project and to arrive at a decision. After much careful deliberation the Panel came to their conclusions and a final line-up was decided. Prior to public announcement, the Panel presented their findings to Mr and Mrs Peter Rieck, the Award Sponsors.

Following tea, the four finalists and guests assembled in the Lecture Theatre for the Award Ceremony. Mr Peter Rieck congratulated them on the very high standards they had achieved and presented the Prize Certificates and Prizes as follows:

First Prize Aki Mizobuchi Buckinghamshire & Chilterns University College 19th Century Dutch Bureau	Second Prize Patricia Lynch (Rycotewood College) Victorian Walnut Work Table
Third Equal Prizes Piran Harte (Buckinghamshire & Chilterns University College) Charles II Walnut & Marquetry Cabinet on Stand	Third Equal Prizes Matthew Allen (Manchester College of Art & Technology) Boulle Card Table

Michael Barrington thanked Sponsors, Mr and Mrs Peter Rieck of Sonneborn & Rieck for their most generous support of the competition and reminded us that one of the Judges, Anthony Allen, was the inspiration behind and the founder of the annual Student Award in the summer of 1994.

Andrew Durham then addressed us, explaining how very impressed the Panel had been with the overall high standards achieved by the finalists in their work and during their interviews. Photographs were taken and the finalists were encouraged to discuss informally the Panel’s findings with individual judges.

As the day grew to a close the general opinion of all present was that this had been a most encouraging event with every prospect of attracting a continuing high standard of entry.

It is, however, worrying that we hear, all too often, from college staff, that the objects being worked on by their students are of insufficient quality. We assume that the ‘quality’ refers to the objects themselves and not the work being done. The competition rules make it quite clear that ‘object quality’ is of no concern to the judges panel who are looking wholly for the quality of conservation, restoration and presentation only. It is also evident that some colleges are not encouraging their students strongly and early enough to enter the competition whose annual finalists definitely stand to gain much kudos and publicity value during that crucial time when they struggle to find placements or establish careers following graduation.

BAFRA Events during 2003

“METALWORK IN FURNITURE”
A report on the days event By Dr Rose Newsom, BAFRA Student

This popular teaching event was a sell out and over 100 delegates poured into West Dean College set in a delicious fold of the South Downs. Many arrived the night before, walked in the 6000-acre park and enjoyed supper together at The Selsey Arms.

We started immediately networking and learning from each other. Many people had travelled from Yorkshire and Manchester involving 5-hour journeys. Two members had been delegated to come by their company.

It was fascinating to learn from Michael Barrington that West Dean is where BAFRA was born in 1979, the idea of restoration students.

Netti's professional handout featured coloured photos of all speakers and demonstrators. A paper by Peter Hatchett was a useful insertion.

The lectures were given under the chandeliers and among the tapestries of the old library some without illustration others on Power Point.

Norbert Gutowski, Director of the HND course at West Dean, gave a well-illustrated, crisp lecture using power point. He emphasised that fittings are an integral part of a piece of furniture and listed how many are required. He paid tribute to the blacksmiths, designers, carvers, moulders, chasers. finishers and gilders who made the best furniture. He showed us the restoration of a Wine Cooler where all the metal work had been stripped off and how he followed the marks for new bands and corrected the distorted lid.

Jeremy Bramah of Bramah locks recounted how Joseph Bramah, a versatile inventor, made the first locks in 1784. The need for this lock was driven by the wealthy who required to keep their estates, writing desks and jewellery safe.

The Bramah locks could not be picked or copied. The concept of Master Suites was also used where a set of locks were made and one key would open all. Then lesser keys gave access to special areas like the wine cellar, pantry and estate. Bramah locks were commonly fitted to brief cases, partners’ desks, writing slopes and vanity items.

He handed round locks and demonstrated the sliders. He explained what to do if a key is missing and suggested that it is useful to build up a collection of Bramah keys for such an emergency. The fewer slides present the more likely success.

His tips on what to do in the absence of a key: Do not turn locks with pliers, do not drill out, and do not pull out the slides. Look to see how many sliders are present and gently try an old key with matching number of sliders. If it does not open then leave it. If the lock must be opened it is best to cut the bolt. This method does not destroy the mechanism.

If it is in an Asprey Box try moving the cap left or right, north or south and the lock may spring open. Bramah Company will repair locks and cut keys. You should take out the lock, insure it and send it to them. Bramah Company also offer to try to open a lock with a half hour time limit.

In modern times Bramah makes locks for the mass market and for specialist items.

In the afternoon his handout gave a Chronological History of Bramah locks and hints on how to date a Bramah Lock by looking for the address and name stamped on the lock.

Tonni Beentjees talked about Patination in metal. Patination can be developed by applying chemicals, immersion, ammonia in a chamber, heating and chemical plus heat by torch. He gave an example of using antimony chloride with water or ammonia to produce brown. Using this one can build up the intensity of patination taking care to leave deeper colour in recesses.

In the late 19th Century Paris metalwork was a very unhealthy profession. The health of workers was endangered by arsenic, antimony and mercury. Now we try to use healthier natural recipes that can also change surfaces.

An important observation was that thin pressed brasses and hammered objects contain areas of ‘stress’. If immersed in ammonia they may fall apart. If the metal is cast then it can resist ammonia.

In the afternoon he demonstrated how to age a new brass handle with heat gun (propane and compressed air) and copper nitrate, brushing with a brass brush, dipping into Gold Finish, and many other techniques. The hands on demonstration made the subject vivid and useful.

He obtains American dipping materials from an agent on 6 Aston Quay in Dublin2. Tel:00353 671 7144 or Fax 00353 679 8198. Beware of the attractive catalogue!

Yannick Chastang.
Following the article in the MAY 2003 BAFRA Newsletter we were eager to meet this skilled young Frenchman.

In early work the brass had to be vigorously hammered to make it thin enough to work with. Joints between pieces were normal and elegantly covered with a brass mount. The requirements of the English Navy stimulated the manufacture of thin brass and in 1725 brass was rolled into long thin sheets. This was much easier to work with.

Gluing metal and marquetry is a major problem. Yannick uses glue made from the air bladder of sturgeon that is very flexible though less good other fish glues are useful.

His opinion on the treatment of corrosion is to think about what is best for the object. Do not use Brasso nor aluminium powder and ammonia as they leave a residue. It is best to use a finely ground charcoal powder.

He showed a microscopic image of brass crystals and wood fibres that had been distorted by a stamping press. This important slide tells us that stamped and hammered brass is weakened and tends to crack with age or in the presence of chemicals like ammonia.

In the workshop he set up a two pence coin and a piercing saw so that we could try our hand at sawing brass. If you can cut out the Queen’s head you are fit to take up marquetry!

Peter Brazier is experienced at Brass casting. He found that booklets on the subject are incomplete so he has experimented for the last 25 years, starting by creating mounts from dentists casting material. He obtained access to furniture Hampton Court Palace to make his first copies.

He notes that a straight copy is slightly smaller than the original. Finials are often missing or broken. It is cheaper to make your own replacement. He explained the process.

He taught us about pouring wax, sticky wax, injection of hot wax and soft wax that adheres to other waxes.

He advised that failures often occur and if four castors are required then one should make five. He took us through lost wax casting and the use of flasks instead of vacuum pumps.

He avoids buying expensive equipment and buys brass off cuts. The brass should be clean and any oiliness removed before use. The cheaper brass looks yellow while better quality looks red. He sometimes buys new brass from Birmingham.

ARMAC Birmingham Mark McGrail
www.armac.co.uk
The morning lectures had over run so ARMAC demonstrated their wares in the workshop after lunch. Apparently many foundries have closed due to constraints put on them by Health and Safety Commission to produce pure clean air for their workers. By investing £50,000 pounds in the foundry they are able to continue employing about 30-40 men. They use Sand casting and Lost wax casting.

They make replacement parts for clients and try to match the original finish.

He said that it is not necessary to have matching sets of handles and escutcheons. Craftsmen use their own taste to put things together. He handed out his own book on English Furniture Fittings and a short catalogue. This is a company that is well worth knowing about.

The Afternoon Demonstrations were well attended:

Michael Barrington demonstrated soldering and other metal work, including the handling of mercury in a barometer using a catheter and syringe to refill it. He also showed how to deal with the tempered steel fingers of a Swiss musical box, which were very expensive items. Perhaps the simplest and most practical demonstration was of his heat barrier mastic (available from a welder’s shop, which allowed him to hold one end of a metal rod or blade even though he was applying considerable heat from a blowtorch at the other end (see photo).

Annealing, tempering, hardening and steel tools.
Albert Plumb provided one of the most useful demonstrations of the afternoon, on the use of heat treatment to anneal, harden and temper the steel of the tools used for furniture restoration and woodcarving. Such treatment could be needed anywhere, for example if one had blunted a chisel by grinding it. He showed the different colours that a piece of annealed steel reaches – varying from dark red at 1125oG to orange at 1750oF. A full cherry red indicates 1450oF and is the temperature required for hardening, which is done by quenching the heated blade in oil or water. The hardened steel should be then heated to around 500oF (a straw – dark red colour) for tempering – so that the hardness is reduced to allow honing. A useful handout accompanied his demonstration and included a sheet on Sharpening tools for Woodcarving.

Norbert Gutowski explained how the use of the Digital Camera has allowed his department to do away with portfolios and take a modern approach. He encourages students to take frequent photos before, during and after each task. This builds up a fine sequence of images that can be shown quickly on a computer screen. These can be used to assess the student’s work and as a teaching tool for other students.

Norbert’s Students had laid out the most excellent of displays of various metal fittings. Identified, labelled and explained

At the end of the day when many had departed, a lucky few were taken upstairs to see the Restoration Workshops.

The setting was lovely, the teaching excellent and the hospitality of West Dean unequalled. Though some of us find the subject difficult, one cannot opt out of Metal Work. It is an integral part of a piece of furniture.

8th Annual BAFRA Student Conference 10th March 2003
by Andrew Matthews

This year we were grateful to Bucks & Chilterns College for hosting our 8th annual student conference. The college is situated in the heart of High Wycombe, Buckinghamshire, surrounded by ring roads and car parks, so no problems parking! Arriving rather late due to congestion on the AI & M25 I duly registered and managed to grab coffee and biscuits before taking my seat in the lecture theatre. Dr. Jake Kaner standing in for an ailing Ian Barker, the college Dean, welcomed the 150 or so conference delegates. The Chair of the Student / Graduate Section Tony Baker then introduced the Conference Chair, Neil Trinder. Neil whose career includes working at the V & A and the Royal Household spoke briefly about the aims of the conference, titled ` I Didn't Think It Was That Bad ! ` then introduced the first speaker of the day, Campbell Norman - Smith.

Melanie Thorpe, Events Organizer

From left to right: Rabea Gietfried-Nietland,Yuri Karpov, Edgar Mantz, Cambell Norman-Smith

Campbell is a senior lecturer at Bucks College and those communication skills were much in evidence during this paper. The subject concerned the need for an alternative to the widespread use of modern synthetic compounds used to repair Boulle work. Campbell reasoned that very little is known about what possible detrimental effect solvents etc. in these compounds may have on pieces in the future. Aided with colour slides he detailed his six year old research project that has now led him to formulate and use a natural reversible compound. This compound, consists of melted shellac flake, yellow beeswax and a secret plasticer which unfortunately he would not reveal to the conference! However it would seem that this particular product might well be on the shelves of all good finishing supply shops quite soon. As is customary at these events questions were invited from the audience.

Bucks College MA student Rabea Gietfried-Nietland presented the second paper. Rabea`s subject, illustrated with slides, introduced the wonderfully named Boroscope and its uses specifically for upholstery work. Essentially the Boroscope is a thin circular probe attached to a SLR camera, the probe is pushed into the upholstered piece, and the internal works, and stuffing's, frame etc are revealed, visually examined and subsequently photographed through the probe. Rabea concluded her presentation with questions from the floor and an invitation for us to view the Boroscope in a restoration workshop during the lunch break. Costing in the region of £2,500 I feel it will not be a common sight in many commercial workshops!

Yuri Karpov also a Bucks College MA student next took the podium to deliver the final presentation of the morning session. Taking as his subject a mid 18th century mahogany bureau - bookcase Yuri delivered his paper on the necessity of research and practical investigation before embarking on repair work. Unfortunately the furniture in question had suffered the indignity of many `fashionable improvements` inflicted over the years. The bookcase had evidently been vastly altered in the 19th century and slides were used to illustrate this. If I understood correctly apparently only the bookcase [top section] was available when Yuri embarked on this project so he made a suitable ` marriage ` with a chest of drawers being converted to form a ` new `bureau base.

Once the last of the papers for the morning had been delivered David Hordern addressed us briefly before breaking for lunch. David, BAFRA full member and current Assessment Officer discussed the merits of being a full BAFRA member and the assessment criteria required for full membership.

During lunch break the various workshops were open with the opportunity to observe and talk to students working on a wide range of projects.

After lunch Edgar Mantz, another Bucks MA student took the podium. Edgar's paper concentrated on the inherent problems possibly associated with the restoration of `modern ` furniture.

Michael Haines, Graduate Member of Border Restorations approached the conference title from the viewpoint of a restorer being called in to examine a piece of furniture. This paper was illustrated with slides of work undertaken by Michael. He explained some of the many problems encountered when a customer wishes an on-the-spot estimate and what is revealed when the piece is finally in the workshop.

Richard Charles demonstrating

Shaving Horse

Richard Charles Rycotewood College HND student presented our final paper. This paper was most appropriate to Bucks College as it concerned the making of a Windsor chair in an area famous for such furniture. In addition to slides Richard had brought along various tools, green timber, a shaving -horse and proceeded to demonstrate the making of chair component.

Neil Trinder brought the days proceedings to a close with thanks to all those involved with organizing yet another successful BAFRA Student Conference.

BAFRA EVENTS DURING 2002

A Grand Tour Of The Frederick Parker Collection,
by John and Elizabeth Ross, Friends of BAFRA

	Sherborne House

Following an introduction by the BAFRA Chairman, Michael Barrington, three speakers guided us through aspects of the collection and early 19th Century upholstery techniques.

Michael Legg, well known restorer, conservator and furniture historian was champion of the campaign to save elements of the collection - a generous donation from BAFRA helping to achieve this aim.

The beginning and development of the collection, mainly late 17th and early 18th Century chairs, was outlined, starting with Frederick Parker's idea that well designed chairs of the past could inspire his designers and craftsmen to turn out better products. The collection eventually numbered some 300 chairs and settees.

Items made by Frederick Parker and Sons and examples from the collection were illustrated and discussed, including a saloon on the liner Aquitania furnished with Parker chairs and an early photograph at the factory.

Silver chairs are a rarity since the silver leaf was covered with varnish against tarnishing; years later the finish appeared as though painted white and brown, so that in many cases the whole surface was removed and the piece gilded.

A so-called 'shaving' chair was unusual for its time in that as much care had been given to finishing the back as to the rest of the chair - why?

These and many other examples introduced us to the collection as a foretaste of what was to come.

Adam Bowett, many times a speaker at BAFRA events, opened by comparing Michael Legg's extensive knowledge gained through a lifetime of keen observation and practical hands-on experience with his own more academic approach, pointing out how complementary were the two disciplines.

Using stools and chairs from the collection, together with such documentary evidence as is available, the history and development of some of the chairs was demonstrated. The records from the Royal Palaces have proved invaluable since in many cases they provided a year-on-year picture of changes in style and production methods.

From the basic Mediaeval chair of box frame construction with pinned mortice and tenon joints and minimum decoration, a change was introduced about 1672 of raking the back legs to improve stability, terminating in a compass heel.

The much lighter cane chairs soon coming into use started to include a carved forerail, double-scroll front legs and turned back posts, giving rise to the name 'Bannister Chair'. (Fig1.)

	Figure 1		Figure 2

Changes continued apace, including by 1709, moving the top rail from between posts, to a crest rail on the top, the extended posts becoming taper turned. To provide stability for these taller chairs, the back legs were splayed, the rake starting at the seat and finishing with a compass heel.(Fig2.)

Further alterations included making the top and front rails different - previously these had been the same. The stretcher rail was moved forward and the knees of the front legs were angled outwards at 45 degrees. By 1715 - 1720 a chair at Canons Ashby exhibits these features with major differences in that the front legs have become cabriole and a scroll has been added to the top of the back.

The first references to the so-called 'India Back', later described as Chinese, appeared in 1717 and in the following years became the typical Queen Anne shape with a bent back and cabriole front legs, which by the 1720s had adapted to the French style, the back legs remaining of English design and a back cross-rail added just above seat level.

Through deft explanation and illustration many pieces of the jigsaw had been put in place.

Bert Chapman, whose talks on upholstery are always informative and stimulating, resulting from a lifetime in the highest quality end of the business, gave us a fascinating insight into the restoration of pieces from a set of furniture, dated 1822-1823, 80% of which had the original upholstery.

Manufactured by Morel and Hughes for Northumberland House, they were being restored to retain as much as possible of the original upholstery and yet remain suitable for everyday use.

Original upholstery was carefully removed and documented; this project allowed contemporary techniques to be closely dated, including the lack of chamfers on the rails and no knots being used in the stitching. Holland material, no longer available, was used beneath the top cover and the back upholstery was supported only by horizontal webbing with no vertical webs. An unexpected discovery concerned a sofa which had evidently been shortened before the first upholstery was applied - reasons unknown.

Starting with the re-upholstery, the original webbing was found to be weakened so was repaired as practicable, refixed to the rails and the original base canvass then replaced. On top of this, new webbing and new canvass was secured, providing strength for everyday use, while maintaining the previous external appearance.

Horse hair formed the seat, covered with new scrim with two blind stitches, two top stitches and a feather stitch to establish the shape and a firm edge.

The story of the documentation and restoration of these important and dated pieces of furniture was most intriguing and perfectly rounded off the morning session.

Afternoon Promenade

Seven consultants, full members of BAFRA, each with several pieces from the collection, enabled those attending the Grand Tour to obtain a close-up view of the chairs, manipulated by the white-gloved consultants so that all areas of interest could be seen and discussed.

On a George III mahogany Open Arm Chair (Fig 3.), the upholstery proved of interest, having webbing from front to back only and the seat curving gently down over, with discussion as to how this was achieved.

	Figure 3		Figure 4		Figure 5

The George II mahogany Arm Chair had aroused considerable interest during Michael Legg's talk, since it was shown that, when purchased by Frederick Parker, the top rail was incorrect. From close study of similar chairs, a new top rail had been designed, made and fitted. A copy of this chair had also been made and could be compared.(Figs 4 & 5)

Consisting of original painted decoration over ebonised beech a George III Open Arm Chair was much admired, including the very light open construction of the back, which however, had stood the test of time.
(Fig 6.)

	Figure 6		Figure 7

From discussion over the Silver Chair (Fig 7.) referred to earlier, it was learned that gesso rot, a fungal growth due to dampness, has occurred; also through worm attack, loss of timber was evident. For similar problems, treatments using rabbit-skin glue size had been tried successfully to stabilize the gesso and consolidate the timber. The possible use of Paraloid B72 for consolidation was also discussed.

This BAFRA event had proved to be another 'winner' and thanks are due to the Trustees of The Frederick Parker Foundation and the Sherborne House Trustees and for the use of the building and for the facilities to study the collection. Thanks also to those whose efforts had ensured such a successful day, especially Michael and Polly Legg and to our three eminent speakers and seven very helpful consultants.

Wood Finishing Workshop II, by Dr. Rose Newsom

The fully subscribed workshop was held in the pleasant ambiance of the Geffrye Museum whose Director David Ewing was much in evidence. An excellent aspect was the museum's exhibition on "London after the fire" to which several lecturers referred. Adam Bowett guided us around it in the afternoon; stressing how much furniture was mass produced with a carver making pieces and a joiner assembling them.

It was suggested that sometimes a new replica of an object should be made for museums rather than "restore" and spoil the history of an old object. A specially commissioned chest with oyster veneers in stages of production was in the exhibition. A part of this chest was used by Malcolm Betts to demonstrate the intricate application of the Best White Varnish that preceded the excesses of French Polishing and was set out in the Treatise by Stalker and Parker 1688. This treatise included Japanning at which Margaret Ballardie now excels. We found her samples and stories fascinating.

Her acute allergic reaction to urishi reminds us of the health hazards of many traditional materials. Can we learn to avoid unhealthy aniline dyes, turpentine and inflammable liquids?

Bruce Luckhurst demonstrated how water compatible acrylics are used to colour and decorate. Antiquing a new screw was just an example. He suggested that water in emulsion with wax could replace carcinogenic, inflammable turpentine.

An important reminder came from Christopher Claxton-Stevens to treasure the patina of all the parts that make up a piece of furniture. How interesting to look for the raised grain of hardened oil, which is forced out when wood shrinks. He urged us to pursue 'Minimum Intervention'.

After the top quality sandwiches and cake, the seven tables were set up for the afternoon Consultancy, where delegates could discuss problems with experts.

These vivid practical demonstrations sent us home inspired after an excellent day.

Report on theBAFRA-Sonneborn & Rieck Award 2002
by Derek Hollier

Entrants, judges and sponsors at the BAFRA-Sonneborn & Rieck Student Award. Left to right, Back row: Rob Tandy, Michael Rosedale, runner-up, Paul Tear, head of conservation, The Wallace Collection, Michael Steele, runner-up, Dirk-Olaf Van Geenen, winner, Timothy Long, BAFRA member and judge, William Scott Harvey, runner-up, Mark Cass, Benedict Clegg, BAFRA member and judge. Front row: Adrian Smith, The Royal Collection, Windsor Castle, Simon Phillips, Ronald Phillips Ltd, Richard Charles, third , Malcolm Morrisen, second, Peter Rieck, David Dewing,director, The Geffrye Museum, Angela McDowell, runner-up, David Lewry, president BAFRA, Eoin Ryan, runner-up, Allan Baker, runner-up

For the first time, a foreign student has won the BAFRA-Sonneborn & Rieck Student Award, one of the most prestigious awards in furniture conservation.

Dirk-Olaf Van Geenen, from the Netherlands, who has just completed his conservation course at Bucks College, High Wycombe, beat off a strong challenge from the biggest field in years.

The competition was intense. Said Peter Rieck, managing director of Sonneborn & Rieck, leading producer of advanced furniture coatings: "The entries have been outstanding, superb quality. In a number of cases the students have conjured something out of almost nothing."

Entries ranged from early Windsor chair to Dirk Van Geenen's mahogany Regency secretaire bookcase. The judges were particularly impressed with the reconstruction that had taken place. Dirk bought his piece of furniture, dilapidated and missing much of the bookcase section, at an antique fair. He then spent 840 hours restoring it.

A former jockey, Malcolm Morrisen, from Rycotewood College, was a runner-up with a chest on stand, dating from around 1682. Not much of the stand remained, however, and he built most of it himself.

Richard Charles, of Rycotewood ,was the runner-up with the restored Windsor chair, a new leg being added, virtually undetectable from the others.

The judges, senior figures in the furniture conservation field, were impressed - and hard pressed to decide on a winner. Said David Dewing, director of the Geffrye Museum, London, where the awards were made, and leader of the judging panel: "Some entrants showed a remarkable skill in recreating what was not there. When a piece of furniture may be a wreck, these skills are sorely needed". It was tribute to the detailed research that underlies many of the BAFRA entries, all expressed in the written material that accompanies them. Sometimes too much material, according to David Lewry, President of BAFRA and co-ordinator of the judging team. "We ask for four A4 sheets of written text, not 54. Judges just don't have time on the day to go through all of that". Tutors, he suggested, should impress on their students the virtues of brevity.

In the meantime. Dirk Van Geenan's future is clear. He is continuing with an MA course at his college, intends to join a furniture conservation company, and will later, he says, set up his own workshop.

A Georgian workshop marked an historic event

The BAFRA Furniture Report