Conservation and restoration of painting frames

[3] As such, frames are subject to wear and tear in their functional roles as a protective component of the art.

[2] Frequent handling, redecoration, modification, atmospheric pollution, and deterioration are some of the many issues that have given cause for conservators to specialize in the preservation of frames.

[6] In order to best restore a frame to its intended appearance, conservators must blend traditional techniques with modern materials and approaches.

Vacuums, sponges, erasers, brushes, and solvent wipes are all tools and methods that should be used regularly to prevent dust buildup.

Disassembling the frame will also allow the conservator to assess damaged ornamentation and easily replicate necessary elements.

Possible materials used for cleaning include tri-ammonium citrate, Plextol B500, ethyl acrylate, EA, methyl methacrylate, and MMA.

Depending on the type of ornamentation and the extent of the damage, elements may need to be recarved by a master carver, recast in plaster, or infilled with a reversible gesso [10] One common material used in the recreation of ornamentation is composition, a mixture of animal glue, resin, linseed oil, and venetian turpentine.

[11] Once major ornamentation elements have been repaired, it is necessary in a gilded frame to reapply and stabilize the flaking gesso layer with hot rabbit skin glue.

Bole is a mixture of colored clay, glue size, and fat, which is applied on the frame as a base coat for the gilding.

[4] Typically, the bole layer, which is either red or gray, is revealed in the points of contact of the frame where the gilding has worn off.

Water gilding is the traditional, more difficult method, which must be cleaned using a mineral spirit or denatured alcohol.

When this occurs, some conservators will reproduce antique machines to create an authentic replica that matches the period and style of the painting and original frame.