Conserving Art Coast to Coast
EXPO CHICAGO
(02/22/2013):
EXPO CHICAGO HOSTS THE FIRST IN A SERIES OF REGIONAL DINNERS FOR COLLECTORS, CURATORS AND CIVIC LEADERS
(09/09/2012):
EXPO CHICAGO
EXPO CHICAGO
National Czech and Slovak Museum and Library
(09/09/2012):
It All Comes Out in the Wash
Crain's Chicago Business
(07/30/2012):
She's a master of the art of the fix
She's a master of the art of the fix
The Chicago Sun-Times
(06/21/2012):
Summer Art to Intrigue Everyone
National Czech and Slovak Museum
(06/15/2012):
National Czech and Slovak Museum and Library Reopens Bigger, Stronger, Better
The Conservation Center
(02/24/2012):
Holland Sentinel
(09/24/2011):
Historic Trust Collection Back at Holland Armory
Chicago Ideas Week
(08/03/2011):
About the Lab: The Marriage of Art and Science
Claims Journal
(07/26/2011):
How to Evaluate Fine Art & Collectible Claims
See more news articles about The Center.
The Frames and Gilding Department specializes in the conservation of gilded works which require structural repair, stabilization, casting, carving, gilding, toning, and in-painting. The unique beauty of the gilded surface is conserved by this department’s talented staff to museum standards.
Click on any image below to view a larger version and to view in sequence. For more detailed information, see our archive of related newsletter articles.
George I Period Gilt Gesso Table with Marble Top, Mirror Missing. English, 17th – 18 c. 30 x 37 x 20 in.
During Hurricane Katrina, this centuries-old antique was substantially water damaged, especially on its legs, despite the conservator conserving as much of the original as possible (#1). A new gesso layer was then applied to the bottom half of the legs and the loss areas on the upper portion, which was then water-gilt and the punchwork replicated. Finally, the patina was adjusted to match the unaffected areas. The final result is museum-quality again (#2).
Wood Carved and Gilt Frame with Painted Porcelain Madonna & Child. 20th c. 14.5 x 12 x 4.5 in.
The frame arrived in several pieces; the missing leaf (#1) would require a restoration to become symmetrical again (#2). After the frame was reconstructed, a new leaf carved from bass wood (#3) to replace the loss (#4). For more information about this treatment, read our article.
Gilded Oval Portrait Frame with Compo Decoration and Incised Gesso Work. 19th c. 35.5 x 29.5 in.
An old repair of the decorative crown on this frame needed replacing (#1). A piece was carved out of epoxy to replace the old restoration (#2), and then the bole (an underpainting & glue layer) color was matched (#3). It was then water-gilt with 23.5 kt gold and toned with shellac and pigments to seamlessly blend in (#4).
Detail, Early 19th c. American. 43 x 67 in.
A common problem on frames is overpaint (left). Removing it can bring out the original patina (right).
Detail, Composite Frame, Mid-19 c American. 35 x 31.25 in.
“Bronze paint” oxides over time, causing a dull greenish-brown appearance (left). Reunited with its inner and outer frame, the cleaned piece reveals the original toning and gilding that the overpaint had hidden (right).
Detail, Early 19th c. American. 21.5 x 20 in.
A demonstration of just how drastic a change can result from removing the bronze paint (left) that had been covering the original surface (right).
Detail, Early 19th c., William S. Conely. 36.5 x 41.5 x 5 in.
The frame as it arrived, with missing elements and overpaint (#1). With the overpaint removed, the recast elements were attached, gessoed, and the bole layer started (#2). The replacement, ingilt and toned to match (#3).
19th c. French. 68 x 52 in.
Severe hurricane damage affected one side of this frame, but mostly spared the other (#1), allowing for restoration by casting missing elements, here seen attached and smoothed with gesso (#2). The final product appears unscathed (#3).
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