Bernacki & Associates, Inc. has over 30 years of experience in restoration of historic frames as well as contemporary art and mirror frames. Upon expert examination of a frame, the client is presented with treatment options with respect to the authentic design.
Frame Function
In most general terms, frames protect and visually complement the art that it houses. Original period frames of exceptional design are often considered museum objects in their own right. When displayed with an appropriate painting or work of art, they present the piece in its original historical context furthering the inherent moods, style and a general characteristic of that particular era and even geographic region, or artist movement. Those frames undergo the same protection treatment as other objects on display.
Frame Damage
Frames are susceptible to wear and tear as any other pieces while exposed to environmental conditions, regular handling, installation, transport, and storage. Frames are at particular risk of damage as they frequently serve as the point of handling of the flatwork that they protect. Often, when painting conservation is performed, the frame is also inspected for proper stability and treated accordingly.
The most common condition issues are:
Warping of the frame rails from temperature and humidity fluctuation
Cracking of wood substrate as solid wood dries and shrinks
Separation, delamination, cracking, and flaking of gilded gesso and composite materials covering wooden surfaces
Detachment of peripheral ornaments due to mechanical force impact
Wear of gilded surfaces from rubbing during routine maintenance
Damaged finishes from improper cleaning
Veneer delamination and veneer loss in frames veneered with exotic woods
Delamination of decorative inlays: mother-of-pearl, bone, metal, etc.
Wood substrate deterioration and exit holes caused by insect infestation
Hardware failure, or splits and breaks, protruding screws through the face of a frame from improperly installed hardware
Weak and unstable joints form impact damage or climate fluctuation
Stained and discolored linen liners
Impact dents, scratches and abrasion from improper handling
Water, fire, or smoke damage exposure
All the damage above can be addressed by specialists and is estimated based on time and materials.
Photo: Giltwood mirror frame detail during conservation at Bernacki & Associates, Inc. The gilded mirror frame sustained severe impact damage in transport resulting in disfiguring losses to the elaborate ornamentation. The center gilt figurative element was reattached, and the areas of loss were infilled, levelled and ingilded to integrate with the surrounding original gilding in profile, color, and sheen.
Above: Detail of water gilded frame during cleaning process. The frame was heavily overpainted with a bronze powder coating that obscured ornamentation and gilding that featured variations of matte and high gloss burnish. The frame also suffered from an oily dust accumulation as it was previously displayed in a hall adjacent to a kitchen. After conservation, the painting and frame were placed in the different part of residence with more appropriate environmental conditions.
Conservation of
Ornamental Carved & Gilded Frames
Original carved and gilded frames are often among the most unique and desirable art frames because of their intricate framework. Some frames are carved in wood and directly covered with gold leaf, others have their wooden surface prepared for gilding through application of multiple layers of gesso, while others are adorned with sophisticated details carved directly in gesso or cast in composite material.
When one thinks of gold leaf, they commonly think of 22k or 23k yellow gold leaf. However, not all gold leaf is yellow gold, and through the influence of other metals (copper, palladium and/or silver), the tonality of gold leaf can change, which also changes the karat. White gold leaf is achieved through adding silver, which in turn equates to 12k which is a warm white gold (55% gold, 45% silver), or with the addition of more silver, a 6k, cool white gold (25% gold, 75% silver).
Stabilization of the wooden substrate and joinery
Cleaning and removal of previous poor touch ups and repairs
Removal of discolored bronze paint or radiator paint
Reattachment of damaged ornamentation
Consolidation of delamination of gesso and gilding
Re-carving in wood or recasting damaged ornamentation
Infilling areas of loss with gesso
Ingilding of filled losses by the application of oil and water gilding
Patination and antiquing ingilded surfaces
Above: Before and after treatment photos of a 19th century frame where large cracks occurred along the joints at the corners, compromising the cast ornamentation and gilt finish. The frame was first surface cleaned. The joints were stabilized and the losses in the gesso were consolidated and infilled. The gesso fills were levelled, ingilded, and patinated.
Above: Before and after photos of a turn-of-the-century gilded age frame that suffered impact damage resulting in loss of the decorative ribbon, berry and floral ornamentation. The frame was first surface cleaned. The joints stabilized, and the surface carefully assessed and consolidated. The ornamentation was referenced elsewhere on the profile, cast, and altered and reoriented to integrate with the pattern. The cast ornamentation was then finished with gesso, a matching clay bole and gilded. Areas of previous damage from improper cleaning was addressed through gilding.
Oil Gilding
Oil gilding is when gold leaf is applied to a completely sealed surface. First an oil size is applied. Sizes are now made of many different materials but most commonly are a boiled linseed oil. The applied oil is allowed to dry (oxidize) in a dust free environment until the proper tackiness is achieved. Then the gold leaf is applied.
Water Gilding
Water gilding is when gold leaf is applied to a porous substrate (typically wood), covered with gesso (usually a mix of calcium carbonate and animal hide glue), covered with bole (a mixture of clay and animal or fish-based glues), and covered with a layer of gold leaf held to the bole by organic animal or fish-based glues. This golden surface can then be left matte or burnished with an agate to a mirror-like sheen. The infilled gilding areas are toned to match the original surrounding finish.
Expert Cleaning of Fragile Gold Surface
Before general cleaning is done, conservator test the surface coatings on small portion of the frame in inconspicuous areas to determine the best materials and techniques for the treatment.
Burnishing white gold leaf infills to match surrounding original burnish patterns. The white gold leaf will be coated with shellac to give the final appearance of yellow gold as in the original design.
Evaluating stability of the gilded layer on a frame exposed to water leakage from the ceiling. The gilded coating sustained damage from direct contact with water, which delaminated along the edge of the cove and carved outer edge. This resulted in large areas of loss down to the wooden substrate.
Conservation of Veneered, Inlaid, and Carved Wood Frames
Stabilization of the wooden substrate and joinery
Cleaning and removal of previous poor touch ups and repairs
Stabilizing lifting veneer and infilling with consistent wood species similar in color and grain, and coating to match original sheen
Repairing inlays. Frames featuring mother-of-pearl, bone, metal, stone, and other inlays are fully treated by specialists with experience in object conservation.
Restoration of carved and moulded ornaments
Above: Before and after photos of an early 20th century veneered frame exhibiting veneer delamination, loss of veneer, staining, and discoloration. The lifting veneer was consolidated, the losses were infilled with a wood species similar in color and grain. The finish was conserved and a protective coat of wax was applied and hand buffed to achieve a uniform sheen.
Below: Before and after photos of a 19th century carved wood mirror frame that suffered damage to select carved detail and exhibited splits at select seams. The splits were stabilized and then infilled with balsa wood. The missing ornamentation was hand carved and installed to replicate the areas of loss. The frame was surface cleaned. The recreated carvings were toned to integrate with the surrounding areas and a protective coat of wax applied and hand buffed.
Below: Frame details during treatment.
