The Best Part of This Job! 

Very much.

Wow! Cat! First comment! Congratulations - you were up early!

@@johnsonrestoration Haha, xo Tom! Friday morning coffee with a restoration video is a great start to my day 😊

Tom when you add colors to paint to match the original item in a small cup, how do you remember how to make the larger batch to do the whole piece?Thanks, Jim k.

A similar one is available from Blue Spot Tools in the UK, for the princely sum of £5.99 + VAT

I don't think it's lifting or bubbling. Early(ish) 18th century mouldings were usually cut from small sections of decoratively grained wood. These were then glued to the substrate 'cross-grained' i.e. at 90 degree from the grain in the substrate, to maximise their decorative value (there would be many small repetitions of the grain pattern, rather than a long and relatively uninteresting single pattern). With time and natural changes in temperature and humidity, it's normal that these short pieces of veneer 'curl' a bit at their ends, and leave small gaps between each other. They can't really be straightened; one can sand them flat if they are thick enough and not too 'curly', but - apart from the fact that I personally find the 'breaks' very attractive - this is generally seen as a bad move in terms of destroying a sign that the moulding is old and original.

I'm not sure we're looking at the same thing. What I *think* I saw were raised areas -- bubbles, in effect -- in the flat piece above the repaired veneer and mirror, not at the edges. See 7:30, 9, 14, and 15, roughly. @dlevi67

@@tedbaker8291 Ah - sorry, misunderstood what you were referring to. I think that's largely an effect of light, together with the fact that the highly figured veneer on the crest has tended to break along the grain in some places. At 2:20 you can also see how the substrate of the crest (with grain that runs parallel to the short edges of the mirror) has curled, adding stress to the veneer, but it doesn't seem to be lifted or bubbling - at least to me. If you look (e.g.) at 14:55, it seems like there are "waves" running across the crest, but if you look at 14:33, the surface appears to be flat. You can see the breakages along the grain at 15:05 - note how many of the breaks correspond to the ends in the moulding pieces or the edge of a curve in the fret.