![]() The second word is to work very slowly and patiently. The first word of advice is not to use any cleaner or product that is solvent based or is too abrasive in nature. This work has to be done very carefully as any damage that you do to the original paint or decals can not be undone. The key to this process is to ensure that the frame is throughly cleaned, as you do not want to trap any dirt or debris below the clear coat. However a small test is never a bad idea if you have any doubts as to the chemistry of the polyurethane. From all of my experience to date, the polyurethane will also not react or disturb the silkscreen process that was used to create the Legnano waterslide decals. It is important to use only polyurethane clear coat for this process as it does not react with the chemistry of the original lacquer paint. In addition, the clear coat protects the older water-slide decals that are prone to cracking and peeling. Properly done the clear coat also brings back much of the original lustre and transparent quality of the original lacquer. However I have reconciled this minor enhancement, or intrusion into time, as being preferable to the continued deterioration of the bikes finish to the point it would require new paint. A word of caution here, never EVER use any masking tape on painted areas of the frame as it will undoubtable lift the original paint and/or decals no matter how light the adhesive may seem.Įven still I can see some of the hard core enthusiasts shaking their heads. So this Legnano received my preferred approach in this condition, which is to carefully and throughly clean the frame after it has been dismantled, mask off all of the chrome plated areas and then apply a light polyurethane clear coat. This bike had been well ridden but also well looked after over the years, and overall the paint and decals where in pretty good condition. Today I stopped by Velocolour to pick up the 1967 Roma (above photos) that I acquired earlier this year. Chalk one up to experience as they say, there’s no going back now. However I do regret repainting the 1961 Gran Premio when I look back on the photos, it should or could have been left with it’s factory paint. Two were in extremely rough condition with bare metal showing on much of the frame and I have no second thoughts about having repainted those bikes. There are now more than twenty bikes in the Legnano Collection and I have fully refinished three of them. ![]() And over the course of 40 or 50 years and several owners, both may be the case. ![]() ![]() However, sometimes that history can involve years of neglect to the elements rather than the patina of being on the road in good service. Time has made it what it is, they would say, and we should respect that history and leave it alone. There are some collectors and enthusiasts that would never consider a respray no matter what the condition of the original factory finish or what may be left of it. Unfortunately the original Legnano factory finish and decals are very fragile, and tend not to stand the test of time very well. Thinking back to when I began the Legnano Collection, this somewhat obvious wisdom means much more to me now. And I have become a little less quick to refinish a frame unless the original paint and plating is really in bad shape. Mario Trimarchi definitely created a remarkable art installation that can be enjoyed in the present at its purest form, and in the future when the copper is fully covered in patina.As the saying goes, “a bike can be restored many times but it can only be original once”. With multiple surfaces, each one will eventually stain with different shades of green and black. Unlike most motorcycles, the De Castelli Samotracia showcases an angular design. Just like brass and bronze, a greenish patina will cover the exterior shell. ![]() According to the Trimarchi, the metal fairing that covers the machine will progressively oxidize in the next 100 years. We believe that it’s a clever expression of how speed and time combine to turn a modern two-wheeler into a canvas of artistic expression. Just like the above-mentioned examples, we can witness the chemical changes of copper on a motorcycle. The artist hopes to gradually paint a one-of-a-kind picture over the span of a century with the De Castelli Samotracia. We consider it as a natural work of art and it seems that Mario Trimarchi also feels the same. Take for example bronze and brass-over time, a greenish stain starts to coat the surface. The patina that forms on the surface is the result of oxidation, which gives some metals a unique weathered look that somehow exudes vintage. You’ve probably noticed that some materials develop a unique finish over time. ![]()
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