This painting suffered from several tears and flood damage that held left the paint film dry, brittle, and vulnerable to further damage. Dirt particulates had also spread across the surface. For the frame, the flood damage had detached some of the decorative ornamentation.
The tears were sutured from the reverse and then in-filled and in-painted on the front to conceal them. Also on the reverse, new conservation linen was adhered to increase the foundational strength. Hydration was spot-treated to return pliability and health to the paint film. Careful cleaning lifted the dirt particulates and had a pleasing affect on the color tones, and conversation varnish was used at the end.
For the frame, the loose ornamentation was reattached with a restorer’s adhesive, and careful cleaning removed the dirt particulates.
This painting by Frederick Trapp suffered from an old and yellowed varnish with dirt particulates across the surface. The linen and paint film were dry, and the frame had lost some ornamentation and had become compromised at the joinery.
After careful cleaning and removal of the old varnish, the painting was relined onto new archival linen. This gave a substantial improvement to its structural integrity. New conservation varnish finished the restoration. The corners of the frame were re-joined and the small areas of ornamentation-loss were recreated. A lacquer application was used to match the color tones.
Encyclopedia Britannica: The Mosel river is a west-bank tributary of the Rhine River, flowing for 339 miles (545 km) across northeastern France and western Germany. Rising on the forested slopes of the Vosges massif, the river meanders past Épinal, Pont-Saint-Vincent, Toul, Frouard, Metz, and Thionville before leaving France to form the frontier between Germany and Luxembourg for a short distance. The river enters Germany and flows past Trier to its confluence with the Rhine at Koblenz. In this sector of the valley (German: Moseltal) are the vineyards from which the famous Moselle wines are produced. The Moselle River’s chief tributaries are the Madon, Orne, and Sauer (French: Sûre) on the west and the Meurthe, Seille, and Saar (French: Sarre) on the east. Above Metz the Moselle has been navigable to 300-ton barges since the 19th century. It connects at Toul and Frouard with the Rhine-Marne Canal. From Metz to Thionville the river has been navigable by 300-ton barges since 1932; below Thionville it was not navigable until the inauguration in 1964 of the Moselle Canal from Metz to Koblenz, built to take barges up to 1,500 tons. The canal is administered by a tripartite authority representing France, Germany, and Luxembourg. There are several iron and steel plants and power stations along the waterway.
This pastoral landscape by Edwin Cole (1868-c.1935) suffered from a dry linen that had led to paint loss in one area, as well as dirt particulates across the surface. The original frame in a Louis XV style, had suffered structural and ornamental losses.
New linen improved the foundational strength of the painting, and in-fill and in-painting concealed the area of loss. Deep and careful cleaning had a dramatic effect on the colors, enriching them back to their original shades. The frame was cleaned, backed-up, and re-fortified to return its structural stability. The degradation of the ornamentation was left as is, per the customer’s bidding.
Edwin Cole was born in Shrewsbury in 1868, the son of artists T.W. Cole and Mary Elizabeth Lewis. Be is best known for landscapes and Shropshire scenes. He began his career as an heraldic artist and painter of church windows, but then became Shrewsbury’s most successful painter. Several works of his are in the National Collection, including Untitled Landscape (Shrewsbury Museum), Lloyd’s Mansion (Shrewsbury Museum) and Abbey Church from West, 1886 (Shrewsbury Museum).
We wanted to highlight the range of frame options we are able to provide.
Here’s a recent Otto Palding (1887-1964) winterscape that we made a custom frame for. It’s a Modernist American Step with primitive qualities that make is similar to a Hicks Frame and that we think make it aesthetically match with the subject matter. We used black and yellow clays, and finished it with white gold. The painting measures 34″ x 20.”
This antique frame had extensive degradation to the ornamentation caused by dehydration and buckling. Molds were made from composition and then casts were used to reintroduce the lost ornamentation. New gesso, clay, and gilding married the new portions to the old. Micro vacuuming removed surface contaminates.
Custom 22K Duch Modernist frame prepared for a long-time client and local artist, Dawn Stafford. Basswood is cut to dimensions in our woodshed with a custom blade and then mitered and joined. Sanding prepares the surface for gesso, and then clays and a touching of steel wool finalize it before it comes to the studio. Gilding gives the frame a decadence and interplays with the tonal aspects of the subject matter. Basswood is one of our preferred wood types as it is usually devoid of resin and thus favorable for gilding.