>At 08:43 AM 12/28/97 EST, you wrote: > >>4. Restored- Everything as close to original as possible with only original >>spec parts used for replacement, original finish coatings, etc.. In >>restoration the refurbishing of original parts is/should be the first >>alternative (?). (Stephen, Anne?) > >When we were also doing museum restorations of other works, the above >description fit the bill quite well. Liberties were sometimes taken in >areas that absolutely couldn't be seen (or avoided), but otherwise "what >you said". > Yes, and add to this that any changes/additions/repairs should be easily reversible (sorry, guys, no CA glue!), and all work documented including materials and date of change. Original parts which are replaced need to be labeled, documented, and preserved. This includes all the wonderful surprises such as old coins and bits of old toys or papers found in the action. When original specs are not available, the best alternative should be used and documented. Duplication of missing parts should be as close to original as possible. On the other hand, if parts are too fragile (or too rare so that continued use may compromise otherwise unavailable historic information) for continued use, then certainly the original parts should be preserved and duplicates made. Complete duplicates of actions have been made for some of the early 19th century pianos in order to preserve the condition of the original parts for the sake of history and better duplication. There are informational guidelines on this published by CIM-CIM, the museum conservators association. You can visit their web page to find more information. In fact, I feel that all piano work should be documented and a copy given to the owner for posterity. Who knows, your name could be a matter of history and inquiry in a hundred years or two. Del, you really should get your name and date into those pianos. Technicians from the 19th century frequently wrote inside the piano when making repairs or modifications. So did the harpsichord technicians from the previous centuries. How I love to see their names and dates written in there so long ago. It is somewhat traditional to write on the lowest keys, or otherwise in a hidden but easily accessible place. When I install harpsichord soundboards, I write on the underside as a surprise for some investigator of the future. You never know! You could be a minor name in somebody's thesis someday. Speaking of which, using business cards as shims is another way to communicate with the future. I have encountered a good number of Civil War era business cards in my work, for businesses with no place in the late twentieth century. It helps glimpse the world the instrument was born in. Anne Anne Beetem Harpsichords & Historic Pianos 2070 Bingham Ct. Reston, VA 20191 abeetem@wizard.net
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