Conservation & Heritage Issue 50 Winter 2025/Spring 2026 - Flipbook - Page 92
Once in the workshop, the gates and piers were fully
disassembled to access areas affected by corrosion. Decorative
elements, including repoussé acanthus leaves and leopard
masks, many of which had been previously tack-welded, were
carefully removed by cutting existing welds. Welded panel
frames and scrollwork were similarly separated. Original
rivets and clasps were retained wherever possible, and all
components were meticulously labeled to ensure accurate
reassembly.
Where previous replacements had been of poor quality,
modern fabrication techniques were employed to produce
faithful replicas. Decorative elements such as acanthus leaves,
leopard masks, shields, and plaques were clay-modeled, 3D
scanned, and 3D printed in PLA. These prints served as
moulds for sand casting in aluminium, with each element
fettled and hand-finished to match the original forms. Masks
and plaques were repaired or reconstructed using epoxy
putty where necessary, ensuring authenticity in design and
detail.
Prior to reassembly, all components were primed using a red
oxide epoxy primer. Original rivets were reused wherever
possible, with new rivets carefully formed and peened to
match historical craftsmanship. Missing clasps were remade
in wrought iron to match original details, and superfluous
or damaged ironwork was removed to restore the overall
integrity of the design. Decorative elements were fixed to the
gates, piers, stays, and overthrow using stainless steel pins or
bolts, secured with epoxy adhesive where appropriate.
Paint removal followed a series of trials to identify the most
effective method, with Kling-Strip selected as optimal.
Softened paint residues were removed using superheated
steam, while a small section of original paint was retained
for reference. Corrosion on smaller elements was eliminated
using a medium-air abrasive blast cabinet with aluminum
oxide, while larger components were treated using a portable
abrasive blaster.
A semi-gloss ‘Prussian’ blue topcoat was applied to closely
replicate the historic colour scheme of George Ashby’s family
crest. This replaced the previous black finish, reinstating the
symbolic significance of the gates in accordance with paint
analysis and historical research.
Restoration work focused on consolidating and repairing
all original components. Damaged or missing wrought iron
elements, including scrolls, water leaves, shadow bars, vines,
clasps, and rivets, were repaired or replaced using silicone
bronze braising rods or matching wrought iron. Decorative
features such as acanthus leaves, finials, and scroll tips were
restored, while severely corroded shadow bars were replaced
to align rivet holes accurately for reassembly.
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