Gilding Arts Newsletter

As we discussed last month, once a surface such as a picture frame, architectural element, or a section of furniture has been water gilded, the object may be considered complete: fully gilded, burnished and modern in it's untouched brilliance. However, not everyone's tastes are the same nor, in the case of framing, does a modern, brightly gilded frame look best on all works of art. Oftentimes the addition of color, whether applied or achieved through the slight abrasion of the gilded surface to reveal the underlying clay bole, can add just the right aesthetic complexity called for to complement a painting and to provide a proper segue to the wall on which it hangs.

There are two ways of looking at the creation of antiqued finishes: as a genuine replication of an antique patina and in the creation of a 'look' where color schemes and abraded surfaces are introduced but do not necessarily follow the rules of authenticity.

I often say that customers will request an antique finish but if I replicated a genuine antiqued appearance it would need to enter the restoration department! What this means is that although there are many fine examples of gilded antiques that have retained much of their gilding and remain in relatively good condition, many others will show a great deal of damage: delaminated gesso, gouges, frame mitres opening due to wood shrinkage, water or smoke damage, insect infestation, unsightly radiator paint or putty added from previous failed attempts at restoration. What people often really want when they are ordering a new custom frame or piece of furniture with applied antiquing is an aged appearance without the unhealthy damage that is associated with genuine wear and age.

So how does a gilder make a glided object look old without causing undue damage? Through simulation. There are a number of approaches available to create an aged look while retaining structural integrity. As an example, rubbing the leaf with whiting and alcohol will peel back the presence of gold or silver leaf while gradually revealing the clay bole ground.

This rubbing of the leaf introduces additional color while simulating what happens to leaf over time as the gilded object is handled. Leaves of gold overlapping every three inches is highly indicative of water gilding and so this particular approach to rubbed leaf is generally very symmetrical in nature. The concept being that a work of art can be created out of a gilded finish where many layers of color are interweaving but do not particularly represent what a genuine antique looks like after 300 years of wear.

In contrast, when rubbing leaf during the replication of a gilded antique, the rubbing will often be erratic since handling of the object will have taken place over many years. In this case, the rubbing may not simply reveal the underlying bole but may also break through to the white gesso beneath the bole and even to the wood itself.

Creating a replication of a gilded antique requires not only a mastery of gilding methods but also an understanding of the historical context of the gilding. The approach to laying leaf during the reign of Louis XIII was different from that under Louis XIV, partly because of the shift in the architectural vocabulary of the decorative arts as well as artistic growth and skill. A gilder will notice that clay bole from France is different in color and texture than that of Italy and Germany while the aesthetic sensibility of the craftsmen of France were different from those in Italy. Those who practiced in Spain were often brought over from Italy, bringing with them a boldness of design in form and color when compared to French and early American gilders. These layers of historical complexity become even more pronounced when considering the beautiful work of artists and craftspeople of Tibet, Indonesia, China, Japan, Thailand, India and other countries with a history of gilding.

Whether creating masterpiece replications or contemporary gilded picture frames, the tools and materials are largely the same; the difference is how they're used. Although some gilders may develop certain exotic material recipes for use in restoration or conservation work, a list of tools and materials useful to most may include: Casein paint to create washes (raw umber, burnt umber, raw sienna); tinted clear or ruby shellac (containing mainly raw umber pigment or dye); a rasp; razorblade; all grades of steel wool; ice pick; awl; dog chain (used sparingly).

I highly recommend that you spend time studying the frames in museums. Although only approximately 30% of frames may be genuine antiques it will still give you an opportunity to absorb the knowledge of what an old frame may look like. You will begin to see deeper and deeper as time goes on. You will notice that the wood exposed through damage appears dark, almost black. Is it from dirt and handling? Is it from exposure to fire or the ongoing heat of a fireplace from a bygone era? Is it truly old or a wonderful replication, and if so, by whom?

And just as we were thinking that we would be uncovering the mysteries of this craft we find that beyond the door lies more questions. In part, it's what keeps us interested, isn't it?