Restoration in a framing shop

[Lida]

Hello everyone.
I'm not a framer but I work in a russian magazine about picture framing.
Now I am preparing the article dedicated to the restoration of frames.
Please, consult me: What difference is between museum restoration and restoration in a framing shop. What restoration service do you render? I will be really thankful if you tell me how you do it(in detailes). Which materials can you recommend to a restorator of frames?
I will be grateful for any information.
Lida

[prospero]

Hi and Welcome to the Forum Lida.

It's a vast subject.

I suppose that Museums work mainly on frames that are classed as 'antiques' and maybe have considerable intrinsic value. In that case they would use traditional methods and materials to restore frames. It's rather a 'dark art'. (Like restoring paintings) Good restorers tend to have their own methods and recipes acquired though many years of learning and they guard them closely.

There typical picture framer may do the occasional piece of restoration on a frame. Most of the time this goes no further than touching up minor chips and marks. These would mainly be modern frames. I have 'restored' old frames, but generally this involved complete re-finishing. This is only appropriate on common frames that have no value. On more 'important' examples it is important not the destroy the patination that maybe took 200 years to build up.

A very brief answer, but I hope that's some help.

[Lida]

Thanks.
Yes, I understand. May be you can tell me a little about your own experience? About some technologies that good framer can use restoring may be not valueable but old frame? For example, about some work with surface?

[Louise Hay]

Hi Lida and welcome

This is a subject we have covered in articles in Art Business Today magazine, where we have given case studies from the framers in question on 'how I did it'.

Email me and I can send you some pdfs

(PS did we meet at Milan ArtExpo?)
Louise

[framemaker]

I don't think there is a quick answer to this! I can only speak from my own experience and impressions on the subject, and I agree with Prospero that the subject is vast, and there are many different methods, but it is a subject I like so I can go on and on about it
I think the main difference between the frame restoration work in many museums and the typical picture framer who offers restoration is the balance an average framer needs to make between being commercial, cost effective, while also offering a good quality service. There are of course picture framers who restore frames to the same level as museums, they themselves would work for high-end museums, private collectors, and dealers, but if talking about a typical framer than I can give an idea of some of my methods.

I think that museums are able to spend much more time on each frame, and the methods and materials used are from a strictly conservation point of view. Whereas your typical framer has to often do the work within a budget while still being as ethical as possible regarding the correct treatment. For some more detail on museum methods of restoring antique frames I can send you PDFs and links.

I offer a number of different solutions and price options, my frame restoration work is split between trade customers (art galleries and dealers), collectors, and the general public. I would say I am very much in the middle when it comes to framers who offer restoration, by that I mean it is not the main part of my business but it is an important part, I do more restoration than some but not as much as others.

Broadly speaking the trade customers require the work done very quickly, at a reasonable price, and to a good standard, for the collectors often the most important factor is very high quality work, the general public varies greatly from as inexpensive as possible to high quality. A lot will also depend on the quality of the frame, which will dictate what work is acceptable or not.

After I have got an idea from the customer of what they are looking for and the level of work they want, my usual method of restoration is as follows:
First I would write up a detailed report on condition, take photographs, and write a restoration plan to show the work I would carry out and also to help cost each process. This process is usually omitted for my regular customers as I know what they want and they know what I do, or for very simple jobs like replacing a small area of damage.

Each individual frame would present different problems, many will have been overpainted, this paint will have always oxidised and gone a browny bronze colour. Some customers (those on a budget perhaps) will not mind this look and will just want some missing ornament or damage repaired, but often this paint will have to be removed. This can often be done with acetone or other solvents, or in extreme cases paint stripper. The original gilding (or the second gilded layer of oil over the original water gilding) will often be in relatively good condition beneath the later applied paint. Water gilding will usually be unharmed by the use of solvents although any original oil gilding is more likely to be lifted if you are not very careful and meticulous.

Frames that have not been overpainted may have had some touching up with gilt paint, this is removed, any previous repairs, that are really bad are often removed. In some cases none or very little cleaning of the gilding will be required, in other cases the frames can be covered in thick dirt which is carefully cleaned. This can be very time consuming and painstaking, the cleaning can be done with a neutral soap like Vulpex or Swarfega, saliva, and numerous other liquids. Cleaning in museums and some commercial restoration studios is often done with triammonium citrate. In some cases the cleaning process is perhaps the most time consuming, it can be simple and straight forward or it can take great care and be quite difficult.

The surface of the gilding will often be fragile and the composition ornament will be loose, traditionally the surface would have been consolidated with a similar adhesive to what was used to create the frame, such as rabbit skin glue. I regularly use Paraloid B72 to consolidate loose or flaking gesso, it is applied in a solvent which has the benefit of penetrating deeply into the surface gesso and wood. The problem with the adhesive RSG is it's water based which can damage surrounding water gilding and is virtually impossible to remove without damaging/removing the original gilding. I have also started using Plextol B500 to consolidate and strengthen composition ornament. These and other relatively new methods of frame restoration are the result of research by museums, and leading restorers. I am simply learning about these methods and applying them to how I restore frames, and they are taking the place of more traditional materials and methods.

To make moulds of existing ornament you can use all sorts of materials, I mainly use a two part material called Otoform and Lab Putty. Many of these moulding materials are made for medical or dental work.
There are others I use/have used, and really there are loads of options available, such as: Vinamold, Steramold, Gelflex, numerous vinyls, and silicones, Capa 650, Kemdent, alginates, and so on, all with various properties.

Next comes the replacement of any missing composition ornament, carving, or gesso. The best material for replacing moulded ornament is still composition, although I use a lot of a two part epoxy putty called Magic Sculpt, especially for the majority of my repairs which are small areas of ornament, I also sometimes use Tiranti or a similar plaster. Large sections of carved frames really should be replaced with more carved wood. Gesso can be replaced with a number of different gesso mixtures.

Will continue with my method tomorrow.

[Lida]

Thanks a lot for so vast answer. I'm waiting for the next part of story

[prospero]

I did a 'conversion' on an old frame recently. Thought I had taken a photo of it, but apparently I didn't.

The frame in question was actually given to me a few years ago. Very typical early 20th c. big ugly gold-painted thing. But it had an interesting design and was basically in good condition. Apart from a few shrinkage cracks and a few flaky patches. No huge sections of ornaments missing.
First thing to do was get the whole thing stable. I wasn't falling to pieces exactly, but the corners were loose and an inner section was not attached properly, the nails having rusted away over the years. I applied steel L-shaped plates screwed to the back and filled the gaps. (What is Russian for 'Polyfilla'?) I sanded the whole thing to remove or at least roughen the existing gold paint finish. At the same time I added filler here and there where the gesso had flaked off.
Next step was to give the entire frame a coat of Shellac (French Polish). One of the most useful (from my perspective) properties of Shellac is that it will stick to most surfaces and when dry it is porus so it will accept water-based paints. The shellac ideally needs a couple of days to harden fully. I then applied two coats of thick white emulsion paint. Nothing special. It's the stuff that is used for house decoration. It is designed so that it will fill minor imperfections on a wall or ceiling. It more or less does the same job as traditional gesso. This is then fine sanded and two coats of artist's Acrylic paint applied. Off-white in this case.

I did the final finish rather like the ones here: http://theframersforum.com/viewtopic.php?f=11&t=6863

People often like the style of ornate frames, but often the typical heavy rich gilt looks out of place in modern homes.

Hope that's of some interest.

[framemaker]

Some details on the next stages of my methods... it's impossible to cover every method, but hopefully this and my first post gives some idea

After I have taken the moulds the new bits are then made. Sometimes a piece of ornament can be cast or moulded by simply putting a piece of the epoxy putty (Magic Sculpt) in the missing area (as close to the exact amount needed) and then take the mould and press firmly into the putty. Alternatively the putty can be pressed into the mould and left to harden, it can then be trimmed and sanded to fit exactly. Both these methods are suited to small repairs using a semi flexible mould making material (like Otoform).
If using compo you need a hard mould, most of the silicone or vinyl based moulding materials are too soft.

Once the repairs have been glued in place and set they are painted to match the colours used originally, underneath the gilt finish. In some case gesso would also be used first. For this ground colour I use either bole, Pelikan Plaka, water based or acrylic paints. The ground colour used would depend on the end finish that is reqired. Some frames (more valuable) would be oil or water gilded as closely to the original finish as possible and then blended in to the surrounding gilding. On ordinary old frames of no real value or where the whole surface is finished I may use an acrylic or oil based gold size and metal leaf. On jobs like this you could do the repairs, then paint or spray surface with red oxide paint, and then use acrylic gold size and metal leaf. Like Prospero said, shellac can be good for providing a key or foundation.
I have one trade customer who has a standard finish on most of their old and antique frames which is metal leaf combined with bronze powder, finished with button polish mixed with pigment, and medium oak wax.

The actual finish on a restored frame will depend on the existing finish and budget, if it is water gilded then this is the only option really, anything else will not blend in that well. But if the finish is a gold paint then I would use whatever works, bronze or mica powders, Liberon, Rub & Buff, or Goldfinger gilt creams, or metal leaf.
So once the repair is gilded it is distressed and toned to blend in with any original gilding. This can be done in so many ways. Tinted glazes or washes, coloured microcrystilline wax, rabbit skin glue with pigments, shellac, and so on. Finally I would often seal any repairs, or the whole surface if the entire frame has been refinished, with an acrylic spray varnish. This is especially important if I have used bronze powder or metal leaf as they will tarnish quickly if not sealed.

Today a customer brought in a late 19th/early 20th century compo frame, it's nothing special and has been overpainted with about 6 small areas of ornament missing. They don't want the expense of removing the overpainting and returning the frame to a very good original condition. They just want the missing bits replaced and with a gilt finish to match. I'll do a step by step photo guide on this frame next week and post on the forum, instead of on my blog.

(What is Russian for 'Polyfilla'?)

An acrylic filler used to make repairs to frames, quite similar to a fine surface filler

[Lida]

I am waiting for these photoes, Richard
And it's so nice to see a picture of russian primer in a british forum

[grahamg]

Richard,

Great post - I'm learning a huge amount from reading your posts here & your blog. Have you ever been asked to or are interested in writing a book on traditional framing & restoration? The 'classics' like the mactaggarts' practical gilding are rather old fashioned now, and the newer books seem to be aimed more at hobbyists. I for one would buy it!

Graham

[misterdiy]

Me too Richard

This is really good stuff and there is so little information in book form. Looks like you have sold two books already and I am sure Lida will buy the Russian version

[framemaker]

There is definitely a need for a modern, comprehensive book on gilding and frame restoration, I can think of a number of much more experienced gilders/restorers who should write a book.
Great idea, but I could only really be called an enthusiastic practitioner of the art so maybe in another 10 years...

[grahamg]

Far too modest Richard!

So who do you rate as a framer / gilder / restorer then? I'm serious - there really is a huge gap in the market for a book like this.

[Lida]

Misterdiy, I can say that I am ready to do this russian version If Richard allows)

[framemaker]

So who do you rate as a framer / gilder / restorer then? I'm serious - there really is a huge gap in the market for a book like this.

When I think of gilding/restoration book writers, I am thinking the likes of: William Adair, Eli Wilner & Co, Lowy, and a number of seriously good ones in the UK...

To be fair, many people guard their own methods and don't really want others knowing how it is done, that's probably why not many have replied to Lida's request for information. Personally I think it's important to share and pass tips and ideas on to others who are interested

[miralo]

As always, than you Richard for showing us your working methods!
I also think you should write a book, you are very clear in your concepts and also in your photos!
Thanks again!

Gustavo

[grahamg]

Richard,

And your sharing is really hugely appreciated. Everyone has to learn from someone, and I think sharing techniques is the only way to keep some of these traditional (and not so traditional) methods alive. But I still think you should write a book