David, I'm the only one here who has mentioned soaking in oil, so I guess your remarks are directed at me, or, if not at me, at least at my remarks.
The objectives of conservation are different to the objectives of restoration.
In conservation we attempt to freeze a material object in time, that is, we attempt to prevent it from deteriorating any further than it already has, and present a picture of the object at a particular point in time.
In restoration we attempt to return the object to a state which approaches its condition prior to deterioration commencing.
The objectives of these two different philosophies are also different:-
in conservation we attempt to hold the object as close as possible to its original state in order to permit its study;
in restoration we attempt to return the object to its original state, in order to appreciate it as it was , and in many cases to continue to use it.
Sometimes I adopt the view of a conservator, sometimes I adopt the view of a restorator, it all depends upon the object concerned.
A conservator working in a modern museum environment usually has facilities at his command that are not available to a private collector or student. For instance, in the basement storage rooms of the Powerhouse Museum in Sydney, temperature and humidity are controlled, and the stored objects are laid out on glass and perspex surfaces.
This approach is seldom available to a private collector.
Apart from which, many, if not most collectors of weaponry and ethnographic artifacts want those artifacts and weaponry presented in a slightly different way than is held to be the benchmark for museum presentation.
These collectors usually favour restoration over conservation.
Further, within keris culture the dominant ethic is one of continual restoration.
When we consider the use of an oil soak to tighten up grain in wood, or to bring a dry, cracked old piece of horn back to an acceptable condition, we are not conserving, we are restoring.
As with any craft, a degree of knowledge and understanding is necessary to use the techniques of oil soaking effectively. I doubt that I am able to transfer in print the product of my +50 years experience in the use of the various techniques of restoration and conservation, but I can provide very basic pointers and those with an interest can begin the process of educating themselves.
My family background is that of four generations of fine art cabinet makers. Much of the work of a fine art cabinet maker is restoration. I am not a cabinet maker, but I have had some training in the trade. Additionally, I have worked with conservators employed by two museums in Sydney, and have trained several people in these museums in some aspects of conservation and restoration.
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