Battered Datu Kris for comment - restoration tips needed

[Federico]

The problem I have always had with inlay and restoring kris has been in the etching vs the polishing. The acid can seep underneath the inlay and loosen it, or it can eat away at the thin inlay real fast vs its eat rate for steel. In certain cases, I have used a thin layer of clear nail polish to protect inlay or other fittings (such as asang-asang) when etching. High grit sandpaper (eg. 600, 800, 1000, 1500, 2000, 2500, etc...), is relatively gentle. You could always start at a higher grit. I would just personally avoid over-etching, or long soaks in acid, as it can add a topographical etch, that at least in what I have seen, has not been typical of Moro swords. The polishing compound idea, can work depending on the compound, but there is always a danger that some compounds contain a portective additive that can sometimes create more of a mess than theyre worth (eg. brasso). Jewelers red rouge is nice, and goes a long way. If the rust is isolated in spots, you could just use #0000 steel wool, a gentle hand, and some WD-40 (or other penetratin oil), to clean it off. Anyways, nice kris, and great inlay.

Kai, if you decide to send to Battara for restoration, you may want to think about adding a silver collar underneath the cockatua below, above the wrap.

[Battara]

Federico has a very good point on the over etching. Light etching to bring out pamor is fine and won't really affect the inlay. Over etching in the way he describes is for Javanese pieces, etc., and will pop out the inlay (thus I have not seen much in true inlay in Javanese pieces).

Will try to post a Maguindanao datu hilt when I get the chance. A typical Maguindanao hilt might consist of okir bands, top and bottom, and possibly interspaced between wrapped twisted woven bands of silver. Okir bands in this case may mean gold over copper/brass or silver.

[kai]

Thanks, Battara!

Originally Posted by Battara

Federico has a very good point on the over etching. Light etching to bring out pamor is fine and won't really affect the inlay. Over etching in the way he describes is for Javanese pieces, etc., and will pop out the inlay (thus I have not seen much in true inlay in Javanese pieces).

Sure. I'm more a keris Melayu guy and like to keep a slick looking blade...

Will try to post a Maguindanao datu hilt when I get the chance. A typical Maguindanao hilt might consist of okir bands, top and bottom, and possibly interspaced between wrapped twisted woven bands of silver. Okir bands in this case may mean gold over copper/brass or silver.

To keep in line with Moro machismo, I'd probably settle for swaasa rather than gold.

I'm looking forward to seeing more Maguindanao datu hilts!

Regards,
Kai

[Battara]

As promised, here is a Maguindanao kris I have that is closest to yours. The hilt has an ivory pommel, the bands are of okired swaasa over copper and braided twisted silver. The bottom band is silver.

Enjoy!

PS. (I also do installment plans ).

[kai]

Originally Posted by Battara

As promised, here is a Maguindanao kris I have that is closest to yours. The hilt has an ivory pommel, the bands are of okired swaasa over copper and braided twisted silver. The bottom band is silver.

Thanks, Battara - that's a really nice hilt! How old is it approximately? Are those 2 central swaasa bands hexagonal?

PS. (I also do installment plans ).

Well, that's more difficult to cover up though...

Regards,
Kai

[Battara]

Thanks. I'm pleased. The age of this puppy is I would guess around 1890s. The orange swaasa bands are round, they look hexoganal...well...because I used the poor man's camera - the church scanner.

[kai]

Here's a link to a somewhat similar example: http://www.oriental-arms.com/item.php?id=1804

However, the inlay just reaches into the fuller (which is also less wide), whereas the fuller extends more towards the base in my blade so that the inlay is completely within the fuller.

BTW, isn't Artzi's dating a bit early for his piece?

Regards,
Kai

[kai]

Originally Posted by Federico

The problem I have always had with inlay and restoring kris has been in the etching vs the polishing. The acid can seep underneath the inlay and loosen it, or it can eat away at the thin inlay real fast vs its eat rate for steel. In certain cases, I have used a thin layer of clear nail polish to protect inlay or other fittings (such as asang-asang) when etching. High grit sandpaper (eg. 600, 800, 1000, 1500, 2000, 2500, etc...), is relatively gentle. You could always start at a higher grit.

Thanks, Federico. I'll try to keep on the safe side...

I would just personally avoid over-etching, or long soaks in acid, as it can add a topographical etch, that at least in what I have seen, has not been typical of Moro swords.

There's certainly no topographical etch as of now. For Moro weapons I'm looking more for something like a Balinese finish - smooth steel with a brief final etching to bring out the pamor and darken the blade a bit. In this case that won't work out for the tip (without excessive steel removal) but keeping the blade intact as possible is my primary concern.

The polishing compound idea, can work depending on the compound, but there is always a danger that some compounds contain a portective additive that can sometimes create more of a mess than theyre worth (eg. brasso). Jewelers red rouge is nice, and goes a long way.

It certainly pays to get professional polishing compounds rather than undocumented household stuff. I have several grades including pure Tripoli - I'll compare that to similar graded sandpaper.

BTW, did anybody tried oil based polish vs. water based paste?

if you decide to send to Battara for restoration,

Someday I'll surely go for a competent silverwork upgrade but money's too tight these days...

Regards,
Kai