Society of Gilders Membership Form

TABLE OF
CONTENTS
VOLUME 21 NO. 1 JANUARY 2007
18
CONFERENCE
RESTORATION
Gilding at the Smithsonian
2006 Conference Review
25
14
Restoration of Damaged
Verre Églomisé
MORE FEATURES
Letters to the SOG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
A perspective on Gesso . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
New Territory for Gold and Glass . . . . . . . . . . . . . . . . . . . 27
DEPARTMENTS
President’s Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
From the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Membership Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
New Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Membership Information Guide . . . . . . . . . . . . . . . . . . . . . . 8
Calendar of Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Corporate Sponsors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Index of Advertisers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
VISIT US ONLINE AT
www.societyofgilders.org
CONSERVATION
Principles of Conservation as
They Relate to Gilded Frames
The Society of Gilders serves its members
in the industry through education, promotion
and representation.
The statements and opinions expressed
herein are those of the individual authors and
do not necessarily represent the views of the
association, its staff, or its board of directors,
The Gilder’s Tip, or its editors. Likewise, the
appearance of advertisers, or their identification
as Society of Gilders members, does not
constitute an endorsement of the products or
services featured in this, past or subsequent
issues of this quarterly publication.
Copyright ©2007 by the The Society of
Gilders. The Gilder’s Tip is published biannually. Subscriptions are complimentary to
members of the Society of Gilders.
POSTMASTER: Send change of address
notification to Society of Gilders, P.O. Box 323
Rochester,
MN
55903-323.
Postage
guaranteed. Presorted standard postage is paid
at Franklin, TN. Printed in the U.S.A.
The Gilder’s Tip is the bi-annual journal of
the Society of Gilders. We welcome all articles,
photographs,
and
manuscripts
for
consideration. We will acknowledge all
submissions and return those we cannot
publish.
Title to the copyrights in The Gilder’s Tip
remains with the authors unless otherwise
indicated and they have granted publication
rights to The Society of Gilders.
Advertising: For display and classified
advertising rates and insertions, please contact
Leading Edge Communications, LLC, P.O.
Box 680142, Franklin, TN 37068-0142, (615)
790-3718, Fax (615) 794-4524.
P R E S I D E N T ’ S L E T T E R Michael Kramer
appy New Year everyone! And what
a year 2006 was for the SOG. We
started out last year with a bang by
introducing the full color Gilders' Tip to our
membership under the able stewardship of our
new editor Charles Douglas. This is now Charles'
third issue and I'm sure you will all agree the
Tip has never looked better. Charles is continuing
to work with our publishing house, Leading
Edge Communications, to make the Tip even
more exciting.
Along with the fresh look for the Tip, our
website was completely re-vamped. Sydney
Miller, our President Emeritus' talented daughter,
spearheaded the effort with Brendan Digital, our
new web hosts. The site has incorporated the
Society of Gilders forum as well as the Regional
Education listings and other information for the
SOG. This is a great resource for our membership
and continues to improve. If you have any
suggestions, please contact us at
information@societyofgilders.org.
One of the most exciting events in 2006
was our weeklong conference, Gilding at the
Smithsonian. There is a special section of this
Tip dedicated to the conference. All the feedback
I have gotten from our members and Corporate
Sponsors is very positive. We had members in
attendance from as far away as the UK, Dubai,
France and Denmark, not to mention from
across the US. All in all we had over 80 members
attend, more than 1/3 of our membership! This
conference was the culmination of a tremendous
amount of work from the SOG board and our
Executive Secretary. And we can't forget the
generous sponsorship of our Corporate Members
including Sepp Leaf Products, Easy Leaf and the
Compleat Sculptor. I especially want to thank
Mary Beth Kelley of the Smithsonian Associates
H
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| T H E G I L D E R’ S T I P | JA N UA RY 2 0 0 7
for all her efforts for this event. She told me
she had never been so tired at the end of the week
and in the next breath said we were welcome to
come back. That might be something to think
about for our 20th anniversary in 2008. We also
want to thank Catherine Dewey of the National
Park Service for her help in the facilitation of our
Community Project during our Conference. I
drive by the Marconi Memorial frequently and
it is truly a thing of beauty. We should all be
proud of our efforts to return this memorial to
its gilded splendor.
Not resting on our laurels, the SOG has taken
possession of the M. Swift and Sons Collection.
As you may know, Swifts was one of the last
goldbeaters in the United States. Decades ago,
when Swift converted from hand beating of leaf
to machine beating, Mr. Swift kept the old hand
beating room exactly as it had been for over 100
years, literally a window into the pre-industrial
past of this business. With Swift's closing last year,
the SOG was fortunate enough to take possession
of this wonderful piece of Americana. It has been
inventoried and is currently in storage while we
find a new home for it. A committee is being
formed to explore funding and venues for the
Swift Collection. If any members have ideas on
this, please let us know.
On a personal note, I am honored to have
been elected President of the SOG. I only hope
I can do a fair job of emulating Peter Miller. Over
the past seven years he has set a high mark for
professionalism, hard work and dedication. If I
even come close to Peter's standard, then I feel
my term will be a success.
All the best in 2007.
Michael Kramer ~
VOLUME 21 NO. 1 • JANUARY 2007
The Gilder’s Tip is the official publication of the
Society of Gilders.
Statement of Purpose
The Society of Gilders is an international, non-profit
educational organization devoted to the art and craft
of gilding. Membership is open to any interested
individual, organization or corporation.
The Gilder’s Tip is the bi-annual journal of the Society
of Gilders. We welcome all articles, photographs, and
manuscripts for consideration. We will acknowledge all
submissions and return those we cannot publish. Title
to the copyrights in The Gilder’s Tip remains with the
authors unless otherwise indicated and they have granted
publication rights to The Society of Gilders.
P.O. Box 323 • Rochester, MN 55903-323
Toll free (888) 991-7676
www.societyofgilders.org
Email: information@societyofgilders.org
Published by
Leading Edge Communications, LLC
206 Bridge Street • Franklin, Tennessee 37064
(615) 790-3718 • Fax (615) 794-4524
Email: info@leadingedgecommunications.com
Editor
Charles Douglas, Seattle, WA (206) 795-8376
Email: charles.studio@usa.net
Assistant Editor
Nelda Danz, Seattle WA (206) 854-6025
Email: neldadanz@yahoo.com
Assistant Copy Editor
Dr. Naomi Geller Lipsky, MN (507) 282-6099
Email: rosebengal@att.net
Contributing Writers
Frances Binnington (London)
Malek Moussouni (Paris)
Alison Woolley Bukhgalter (Florence)
Executive Secretary
Marilyn Campbell, MN
Email: mamiecampbell@msn.com
Regional Education
Jill London, NY
(212) 475-3174; CA (415) 821-2001
Email: jill@londongild.com
SOG Officers
President
Michael Kramer, MD (301) 929-9450
Email: mkramer@gilders.com
Vice-President
Micki Cavanah, TN (615) 865-2666
Email: mickirc@bellsouth.net
Treasurer
Dr. Naomi Geller Lipsky, MN (507) 282-6099
Email: rosebengal@att.net
Secretary
Patricia Miranda, NY (914) 935-9362
Email: mirarts@aol.com
Trustees
Angela Caban, NY (212) 740-8118
Email: thefinishedwall@yahoo.com
Charles Douglas, WA (206) 795-8376
Email: charles.studio@usa.net
Susan K. Lampman, NY (518) 943-4409
Email: susank@mhcable.com
Allen Marx, NJ (609) 919-1966
Ina Brosseau Marx, NJ (609) 919-1966
Email: allenIna@marxbrosseau.com
Peter Miller, CT (203) 263-3939
Email: peter@phmiller.com
Alternate Trustees
Mitch Cavanah, TN (615) 865-2666
Email: mickirc@bellsouth.net
Smith B. Coleman, SC (843) 853-7000
Email: info@colemanfineart.com
Colleen Donaldson, Scotland, UK
Email: cd1762@aol.com
Heather Kenealy, CA (650) 330-1004
Email: hkenealy@yahoo.com
Jill London, NY (212) 475-3174; CA (415) 821-2001
Email: jill@londongild.com
Past Presidents
William Adair
Stanley Robertson
Peter Crafts
Brendon Brandon
Ross O'Neal
Michael Kulicke
Peter Miller
F R O M T H E E D I T O R Charles Douglas
we start fresh at the beginning
of yet another new year I’d like
to extend a warm welcome to
Michael Kramer, whose high energy and
enthusiasm is perfectly suited to his new
position as President of the Society of Gilders.
The scope and beauty of his work in the field
of architectural gilding fascinates me. In the
coming months we will have the opportunity
to peek behind the scenes of some of his aweinspiring projects.
I also express my heartfelt appreciation to
our past President, Peter Miller, who cannot be
thanked enough for his longstanding dedication
to the Society of Gilders. His passion for our
organization has kept us moving forward. He
is also the reason why we are now the proud
caretakers of the historical M. Swift gold beating
equipment – a piece of history which otherwise
would have been forever lost. We will all be
treated to hearing his story behind this exciting
acquisition in the July issue of The Gilder’s Tip.
In this current issue we take a short step
back to revisit our Washington DC conference:
Gilding at the Smithsonian 2006, deemed by
many as our most successful gilding event to
date. I hope these highlights will bring back
As
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pleasant memories to those who were able to
attend and to serve as encouragement for all
of us to strive to join our colleagues at the
events that lie ahead.
Looking to the future we will be exploring
over the next year in The Gilder’s Tip such
topics as gilding in the field of bookbinding;
the process behind the manufacturing of clay
bole; restoration practices; and a continued
discovery of techniques used across the
spectrum of our craft.
As a restorer and custom gilder of frames
and furniture, I know I share with you the
many complexities, demands, and fulfilling
nature of our work. And so I leave you with
these words for the New Year:
“When I am working on a problem I
never think about beauty, I only think of
how to solve the problem. But when I have
finished, if the solution is not beautiful, I
know it is wrong.”
-Buckminster Fuller
~Charles Douglas
Society of Gilders Membership Form
Toll Free: 1-888-991-7676
e-mail: information@societyofgilders.org
Name: ____________________________________________
Membership
Categories
Company: __________________________________________
❑ Individual - $100
Primary Contact: ____________________________________
❑ Business - $250
❑ Corporate Silver - $800
Address:
❑ Corporate Gold - $2000
City: __________________ State: ______ Zip: __________
❑ Friend of the Gilding Arts $75 or above
Country: __________________________________________
Send to: Society of Gilders
P.O. Box 323
Rochester, MN 55903-323
E-Mail: ____________________________________________
Phone:
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__________________ Fax:
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Web: ______________________________________________
Payment Information
❑ Check enclosed (please make check payable to Society of Gilders)
Charge to: Number:
________________________
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Expiration: __________ Cardholder Name: ____________________________
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Signature: ____________________________________________
Description for membership directory:
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Member Profile: Select areas of expertise/interest from the list below. Your selections will be indicated in the membership
directory and will assist SOG in requests for contact information.
❑ Appraiser
❑ Architect
❑ Architectural Gilding
❑ Ceramicist
❑ Conservator
❑ Decorative Artist
❑ Designer
❑ Educator
❑ Exterior Gilding
❑ Fine Artist
❑ Freelance Gilding
❑ Furniture
❑ Gallery
❑ Gilding Supplies
❑ Glass Gilder
❑ Iconography
❑ Leather Gilding
❑ Library
❑ Manufacturer
❑ Manuscript Illumination
❑ Picture Framing
❑ Retail
❑ Restoration
❑ School
❑ Sculptor
❑ Signage
❑ Studio
❑ Wholesale
❑ Woodcarver
SOG will provide member
contact information to members
of the public requesting referral
information about gilding
services. Please let us know if
you wish to make your
information available:
❑ Yes
❑ No
SOG NEW MEMBERS
Welcome,
NEW MEMBERS
INDIVIDUAL
John Anderson, Connecticut
Elizabeth Harkins Baughan, New Jersey
Frank Bunke, New York
Byll Cawley, Alabama
Paul Champion-Demers, Canada
Dennis DaSilva, Maryland
Edward Diefenthal, Louisiana
Dan Dipert, Texas
Chip Doyle, Ohio
Ramon Espinoza, Massachusetts
Daniel Feld, New York
Teresa Fogg, Maine
Ruth Goldstein, California
William Graffis, Texas
Dewey Heising, Washington, D.C.
Thea Holmes, Maryland
Donald Isley, Maryland
Jeffrey Johnson, Pennsylvania
Ann Kennedy Haag, Illinois
Sally Kenney, Ohio
Joanne Kim, California
Constance T. Laing, Canada
Regina Lewis-Middleton, New York
Suzanne McAllister, California
Jné Medellin, Virginia
Elaine Miller, Texas
Bienvenida Ochs, Virginia
Alex Robinson, Maryland
Richard Rosenberger, California
Lauren Ross, Maryland
Sally Russell, Virginia
Linda Sarpy, North Carolina
Janice Selfridge, New York
Wendy Shalen, New York
Jear Shaw, Thailand
Laurel Shearer, Washington
Celia Tite, Virginia
Judith Trezza, New York
Rick Voght, Virginia
Frances Walker, Louisiana
Lisa White, Texas
Larry White, California
Anne Zanikos, Texas
BUSINESS
Dry Creek Gold Leaf Inc., Colorado
Art and Sign, Virginia
Gordy Fine Art & Framing
Company, Indiana
King Pro Deco, China
Golden Rhodes, Virginia
Wrights of Lymm, LTD, England
CALLING ALL
MEMBERS …
Did you know that your membership
includes supplier discount coupons
when you join SOG and when you
renew your membership? Be sure to
take advantage of this great benefit!
2 0 0 7 S O G M E M B E R S H I P I N F O R M AT I O N G U I D E
Whether you are a beginner or a professional gilder, a manufacturer or a supplier, or someone with a special interest in gold leaf, you are invited to
join the Society of Gilders in any one of the following categories. Membership is open to any individual, institution or corporation for the
calendar year January 1 through December 31.
INDIVIDUAL MEMBERSHIP . . . . . . . . . . . . . . . . . . . . . . $100
• A subscription to The Gilder's Tip, SOG's bi-annual journal of the
gilding arts
• A subscription to the SOG e-newsletter for updates and events
• Discount coupons on purchases of gilding materials from
participating corporate members
• Special member discounts on programs offered through
Regional Education
• A 50-character biographical description in the annual
SOG Membership Directory
• Inclusion in the SOG website membership list
• Opportunity to exhibit your work on the Gilding Gallery web page
• Access to the members-only website discussion Forum
• Volunteer and Internship opportunities at SOG-related events
• Eligibility to serve as a Trustee for the Society of Gilders
• One vote in SOG elections
BUSINESS MEMBERSHIP . . . . . . . . . . . . . . . . . . . . . . . $250
All the benefits of an Individual Membership plus:
• One additional subscription to The Gilder’s Tip
• A 200-character biographical description in the annual
SOG Membership Directory
• Business name and description in the SOG website membership list
• Link to the website
• One additional vote in SOG elections
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SILVER LEVEL CORPORATE MEMBERSHIP . . . . . $800
All the benefits of a Business Membership plus:
• Certificate recognizing Corporate Membership
• Ten subscriptions to The Gilder’s Tip
• Corporate listing in The Gilder’s Tip and on the website
• Feature article in The Gilder’s Tip and on the website
• Two additional votes in SOG elections
• Participation in member coupon program
GOLD LEVEL CORPORATE MEMBERSHIP . . . . . $2000
All the benefits of a Silver Membership plus:
• Corporate exposure at all conventions and trade shows
• Banner on website
FRIEND OF THE GILDING ARTS . . . . . . . . . . . . . . . . . $75
• A subscription to The Gilder’s Tip
• A subscription to the SOG e-newsletter for updates and events
• Friend listing in The Gilder’s Tip and on the website
The Society of Gilders is a 501 © (3) tax-exempt
organization. Consult a qualified accountant for
deduction information.
SOG NEWS
While fluency in French is not required, some basic language
abilities would be helpful. Although the recipient is responsible
for obtaining his/her own passport, the French-American
Cultural Foundation will facilitate the visa process.
Application (Revised Extended Deadline)
Applications and all supporting materials must be postmarked
by January 31, 2007. Successful candidates will be notified
after February 15, 2007.
Download the Application and Submission Guidelines:
www.f-acf.org/scholarshipapplication.pdf
www.f-acf.org
he French-American Cultural Foundation's Artisan
Scholarship Program was created to preserve and
revive the practice of traditional crafts while promoting
international cooperation between French and American artisans,
craftsmen, curators, and conservators.
In 2007, the Artisan Scholarship Program will launch the
first Watin Gilding Prize, a scholarship created exclusively for
gilders. A committee of experts will choose a recipient from
each country to work abroad in a master gilder's atelier. As
the Artisan Scholarship Program grows, grants will be expanded
to include other artisan disciplines.
T
A list of Frequently Asked Questions will be posted to
the Web site www.f-acf.org
Please send the applications and all materials to:
Marla Moffet • Development Coordinator
French-American Cultural Foundation
4101 Reservoir Road, N.W.
Washington, D.C. 20007
Tel: 202.944.6234 • Fax: 202.944.6043
Email: moffet@f-acf.org WATIN GILDING PRIZE
Description
The Watin Gilding Prize was established through the fundraising
efforts of the French-American Cultural Foundation. Born in
1728, Jean Felix Watin worked as a master gilder and interior
designer in Paris throughout his life. Watin became one of the
most celebrated experts on French décor after publishing his
manual L'Art du peintre, doreur, et vernisseur (The Art of the
Painter, Gilder, and Varnisher) in 1772. The book remains
a classic of design literature and continues to be reprinted in
multiple languages today.
The recipient of the Watin Gilding Prize will receive an
invaluable experience working for three to six months in an
atelier that promotes a bilateral exchange of ideas, techniques,
and philosophies. S/he will receive a stipend to cover housing
and living expenses for the duration of the apprenticeship.
The recipient will visit local sites, tour museums, travel to
other ateliers, and further their knowledge of gilding and
conservation. Upon completion of the training, the recipients
will be asked to give an oral presentation and provide
a written report to the Artisan Scholarship Committee
discussing their time abroad and how they have benefited
from their newly acquired skills.
Requirements
The Prize recipient must be an American citizen. Ideally, s/he
will have already completed a minimum of 4 years training in
the field of gilding. The committee will be looking for someone
with demonstrated skill as well as a strong desire to make an
earnest contribution to the gilding profession. Applicants will
also be chosen based on the committee's assessment of their
interest for cultural exchange.
Bottom Left: Jean-David Levitte, Ambassador of France to the United
States, addressing potential donors for the Artisan Scholarship
Program, at the first FACF fundraiser held at William Adair’s Gold
Leaf Studios in Washington, D.C.
All Photos: Courtesy of the French-American Cultural Foundation
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SOG NEWS
2006 Pride of Place Competition
Awards Ceremony
Honors
America’s Best
Gilding Artistry, Design
and
Decorative Finishing
December 1, 2006 - Press Release
Sepp Leaf Products Pride of Place 2006 Competition Awards
Sepp Leaf Products, Inc., New York, 212-683-2840
epp Leaf Products Inc. announced its Pride of Place
2006 Competition prizewinners and unveiled the artwork
of over one hundred dazzling entries, which will grace
Sepp Leaf ’s showroom for the upcoming year. The awards
ceremony was officiated by Peter Sepp, President of Sepp Leaf
Products. Seventeen winners were presented with awards from
several European goldbeaters, as well as other manufacturers
including Rolco Labs and Kolner Coatings in the U.S., Liberon
of Great Britain and Mixol of Germany. Invoking the event’s
immediate and long term missions, Sepp described his “genuine
pleasure in gathering here to celebrate the artistic achievements
of many accomplished artists. In doing so we hope Pride of Place
will encourage and inspire new artisans as well.”
Joining the festivities were Michael Kramer of the Gilder’s
Studio, Peter Miller of P.H. Miller Studios, current and past
presidents of the Society of Gilders, as well as Picture Framing
Magazine publisher Bruce Gherman and editor-in-chief Patrick
Sarver. Also attending were jury chairman Clem Labine, founding
editor of Traditional Building and Period Homes magazines,
honorary chair Doug Wilson, host of TLC’s Trading Spaces and
Moving Up, and Jean-Yves Noblet, Director of Jean-Yves Noblet
Prints. Sepp toasted the “incredibly talented and diverse artisans,
whose growing participation ensures that this will be an annual
event.” The judging panel also included Scott Ageloff, Dean
of the New York School of Interior Design; Ralph Esmerian,
Director Emeritus of the American Museum of Folk Art; and Lily
Kane, Education Director of the American Craft Council. The
review process was held at The National Arts Club of New York.
Renowned textile designer Christopher Hyland accepted two
awards on behalf of Scott Potter Design, for Gilded Decorative
Art (Christopher Hyland Collection Grande Globe) and for
Gilded Product Line (Japanese Silver Leaf Grande Footed Bowl).
Applauding Scott Potter’s “exquisite vision”, Hyland noted the
essential confluence of designer, artist and materials in creating
aesthetic perfection. In the winner’s circle, several historic
properties were represented, including the John and Mable
Ringling Museum’s Asolo Theatre in Sarasota, Florida; New York
City’s Cathedral Church of St. John the Divine, Congregation
Rodeph Shalom, The Metropolitan Club and Minskoff Theatre;
and the Washington Temple of the Church of Latter-Day Saints.
The Gilding by Design winner, a residential patinated gilded
ceiling created by Realm Designs of Warren, New Jersey, and
the Residential Gilding winner, an elaborate, Moorish-style gilded
room executed by Faux Forum of New York City, conceived
S
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Sandra Spannen of See Painting, winner of Coloring with
Mixol with Peter Sepp and Jennifer Longworth of Sepp
Leaf Products.
Doug Wilson presents the award for Interior Residential
Gilding to Laura Bergman of Faux Forum.
Jury Chair Clem Labine (r) of Traditional Building Magazine
with Bill Doviak of Rolco Labs.
Christopher Hyland accepts the award for Gilded
Decorative Art on behalf of Scott Potter Design.
CONTINUED
Peter Sepp presents Sheila Perry of the North Bennet
Street School with Pride of Place scholarship funds.
Melissa Ford Hart of Ernest Neuman Studios receives the
Liberon Wood Finishing award from JoAnne CampisiSetear of Sepp Leaf Products.
entries”. Scalera also recognized the “critically important specially
hand-dyed silver leaf, gold leaf and expedited orders” sent by
Sepp Leaf in support of the project’s time frame. Sepp Leaf ’s
Dealer of the Year Award was presented to Josh Jacobstein of
Rose Brand. Noting Rose Brand’s historical presence in New
York City, Peter Sepp commended their “starring role” as a
leading supplier to the theatrical and entertainment industries.
Pride of Place presented $4,000 to the North Bennet Street
School in Boston, MA, to fund Workshop Program scholarships
in gilding and woodworking. These funds were the result of both
accumulated entry fees, and the waived entry fees of Society of
Gilder members, as underwritten by Sepp Leaf. Accepting the
funds on behalf of the school, Director of Development Sheila
Perry described the breadth of full-time and workshop programs
in traditional crafts available at the school, and recognized the
importance direct scholarships have in providing education for
new and mid-career students. Perry also projected that together,
Sepp Leaf and North Bennet Street School would foster an
“exciting level of inspiration and craftsmanship” into the future.
In concluding the ceremonies, Sepp noted this year Pride of
Place has “exceeded our expectations” and announced, “next
year’s competition will encourage more participation by including
additional categories. The workmanship, creativity and design
you see on these walls is over the top. So, start thinking about
next year now. Congratulations to all the artists who participated
in Pride of Place.” For this year’s winning images, or for more information about
Pride of Place 2007 please contact Jennifer Longworth at 212683-2840, jenniferl@seppleaf.com.
Recommended Reading…
For a limited time only, the popular book Gilded Wood:
Conservation and History (1991, Deborah Bigelow, Sound
View Press,) is on sale for $50.00 plus shipping (regular price
$89), available through the AIC website:
http://aic.stanford.edu/library/print/publist2006.pdf
Michael Kramer accepts the award for Exterior
Architectural Gilding.
with Peter Marino Architects, provided an infusion of striking
and innovative uses of gold leaf.
Accepting the award for Gilded Picture Frame for the Concerto
Spanish Frame, Jim McCoy of Larson-Juhl was thrilled to accept
this “very unique recognition” of Larson-Juhl’s comprehensive
research and development in presenting their first line of traditionally water gilded artisan frames with 22kt gold leaf. Sepp
noted that the traditionally crafted Concerto line brings LarsonJuhl to the most sophisticated level of gilding, and gives them
leadership in today’s “Gilded Age”.
Accepting the award for Civic Gilding, Michelle Scalera,
Chief Conservator of the Ringling Museum of Art described the
collective feeling of the team for the Historic Asolo Theatre
project. “We feel honored and frankly humbled”, professed
Scalera, “in being chosen from over one hundred incredible
Society of Gilders Acquires
Historical Gold Beating
Equipment From M. Swift
and Sons
“M. Swift and Sons was the largest and most successful gold
leaf manufacturer in the United States from the time of hand
beating gold into leaf through the conversion to machine
beaten leaf. While gold leaf manufacturing has always been
more prominent in other countries, this collection represents
the industry here in the US.” ~Peter Miller
(Watch for the upcoming article detailing this exciting
acquisition in the July 2008 edition of The Gilder’s Tip! –ed.)
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LETTERS TO THE SOG
TO THE SOG
Dear SOG ,
Greetings,
I just wanted to take the time to thank the
SOG, the board and the members for the warm
reception and gracious hospitality shown towards
my company, Easy Leaf Products.
As someone who has been part of this
organization almost from the beginning, I
was happy to be in attendance and proud to
be able to support it by sponsoring the cocktail
party on that closing evening following a great
week of lectures and workshops. Gold and
Silver was being sprinkled in every drink that
was poured…what an appropriate way to bring
the week to a close.
Being on the West Coast, I am not always
able to attend meetings and events, but this is
one I am glad I attended.
My congratulations to Mr. Michael Kramer
to his newly appointed position as our SOG
President, and very best wishes to Mr. Peter Miller,
past president, for all his hard work in keeping
this organization moving in the right direction.
A big thank you to SOG for all your brilliant
work and hard efforts. It cannot have been an
easy task and yet you made it look so effortless
and fun. Much as I weighed the cost of going
to the States against packets of gold leaf, I am
so pleased I went. I learned so much and now
feel more confident and adventurous. Gilding
is such a visual process and you need to see it
over and over again to know what to look for
and feel, which was one of my reasons for
attending the conference.
It was delightful to match so many faces to
my e-mail correspondents, and to learn that Jill
London and Matt Meyer, like myself, came to
gilding from a printmaker background. On my
return, I immediately started playing around
with gilding and prints.
The Smithsonian was a great location with so
many museums within walking distance of the
conference. I particularly enjoyed the Peacock
Room and Whistler collection at the Freer and
I made many visits to the National Gallery to
view their drawings of Venice, print collections
and much more.
Fortunately, I flew home out of National, so
I could see the gilt spires of the Mormon Temple
as I took my last glimpse of Washington, D.C
in the early evening light. Their brilliance was
enhanced because I had learned at the conference
how Kramer and team had restored them. I am
now looking forward to a trip to Jerusalem to
visit the Holy Sepulcher.
Sincerely,
Larry P. Neuberg
President
Easy Leaf Products
Thank you SOG,
Warm regards
Gaye Paterson
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CONTINUED
Dear SOG ,
When Jill London asked if I would like to volunteer at the Smithsonian 2006 Conference, I
happily accepted. I was invited to assist Smith Coleman, a gilder and frame restorer in Charleston,
South Carolina, prepare water-gilded materials for his toning class. For three days, while classes
and workshops were taking place around us, Smith, former SOG President Peter Miller and I
diligently applied layers of bole and laid gold leaf to several dozen lengths of decorative moulding.
The long hours we worked together provided me with cherished practical experience and deepened
my appreciation for the patient art of gilding. Once the mouldings were prepared, I gladly agreed
to help Smith during his class on toning water-gilded surfaces, frames and furniture.
During the two-day workshop, Smith and Peter taught students how to use several different
toning materials and techniques to add centuries to newly gilded surfaces. Once students had
burnished their pieces to a brilliant shine it was time to start distressing their work. Some were
a bit apprehensive at first, given the mirror-like surface they had just created, but soon everyone
was purposefully damaging their pieces with strategically placed wormholes, dents and exposed
bole. Students experimented with asphaltum, rottenstone, casein, watercolor and Japan paints.
One particularly interesting technique we practiced was the use of a stiff-bristled brush to create
faux fly droppings. It added insight into the surprising elements that create the overall appearance
of age in a gilded piece.
Throughout the week, I had several opportunities to observe and photograph other conference
workshops. I met practicing gilders from Canada and Denmark, as well as from all over the United
States. It was inspiring to see that gilders had traveled to the conference from afar to learn new
crafts, practice new techniques, hone their existing skills and to network with other gilders.
I am just starting out in the world of gilding and art restoration and it was refreshing to learn
that the conference is a forum where gilders and artists of all experience levels convene with fellow
professionals. Whether ideas were shared in workshops, during lectures or over a pint, the knowledge
everyone took home was valuable. Such open exchange of information plays an important role in
contemporizing a traditional art form, and I look forward to taking part in the next conference.
Janelle Batkin
Janelle Batkin is a graduate of the Fashion Institute of Technology, with degrees in photography
and art restoration. She lives in Washington, D.C. and is pursuing a career in art restoration and
architectural gilding.
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R E S T O R AT I O N O F D A M A G E D V E R R E É G L O M I S É
By Ina Brosseau Marx and Allen Marx
Gilding at the Smithsonian 2006
T
his presentation deals with the techniques we have used
to restore verre églomisé. The three categories of damage
we address in this article occur when:
• Much of the original work seems to be lost
• There are losses in a painterly scene
• Losses appear in a repetitive design scheme
Laying leaf behind glass, etching, backing up, and often
painting are the processes used to create original verre églomisé.
Once damage has occurred, an entirely new set of processes must
be employed to save as much as possible of the original and to
replace missing portions in the spirit and style of the original.
The first requirement for all types of damage is to document
the condition that exists before any treatment is begun. This
must be done both photographically and in a written report.
Photographs are crucial; they document the Condition Before
Treatment (CBT), clearly showing what remains of the original
art and design scheme and the areas to be replaced.
In documenting the examples discussed here, we started out
by photographing both the front and back of the glass from
several different angles, changing the position of the lights as
we progressed. When we photographed the first category of
damage, in a raking light of about 30 degrees, “ghosts” of gold
leaf designs appeared that had been invisible when we first
looked at the glass. (Figure 1) When gold leaf adheres to glass
it bonds so securely that traces of it remain which can be
detected if you are patient enough to discover them. Once
these photographed “ghosts” were exposed, we documented
them on the front of the glass as described below.
We recorded existing leaf (including remnants of leaf revealed
by photography), etching, and painting, by tracing directly
on the front of the glass. First we traced over every existing
shape, etched line and painted area with a grease pencil on
both onionskin paper and transparent Mylar. The tracing paper
served as a permanent record of CBT, while individual sheets
of Mylar documented different portions of the same repetitive
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designs, which, when placed over each other, presented
almost entire design motifs. This process worked well on
structured, repetitive ornamentation. On damages that occurred
on painted, naturalistic scenes, we followed the same tracing
procedures, and also took careful notes about colors and
painting styles.
After we completed these processes, we attended to the loose,
brittle fragments on the glass panels. Most fragments were
“cupped”, meaning that the backing paint had delaminated,
bringing with it, in many cases, the leaf that had been covered.
(Figure 2) These pieces could not be flattened and re-adhered,
so they had to be removed very carefully with tweezers. We
placed these brittle pieces in an envelope to use for reference
when we came to the color-matching stage for inpainting later
on. Once the loose pieces had been detached and saved, we
addressed the artwork and design schemes.
For the first category of damage—where little of the original
artwork is apparent to the naked eye—we utilized the “ghosts”
we exposed. These were found on the glass of a lyre-shaped clock
case. (Figure 3) Though the clock was rare, we unearthed several
similarly shaped clocks from that period, c.1825—c.1835, which
displayed ornamentation on either side of a central string section.
After assembling our “ghost” tracings, we found that they were
very much in the spirit of the other clock glasses. Buoyed by
our research, we crafted a mirror-image design that we believe
is very similar to the original. (Figure 4) We found the original
solid color on the edge of the glass where it had been protected
by the rabbet into which it had been inserted; it was the same
color that was on the back of the cupped pieces we had saved.
The process of matching paint colors follows in our description
below of restoring a painted scene that was damaged.
For the second category of damage – a painted scene similar
to an oil painting one might see on canvas – we had to integrate
our painting into the extant original paint. (Figure 5) The scene
was on the glass tablet of a c.1835 banjo clock. Since we were
painting on the back of the glass, we had to analyze every stroke
and then paint it in the reverse order. When painting is done
CONTINUED
Figure 3. Most of the design was lost on the right side,
and very little was visible on the left side.
Figure 1. One of the “ghost” patterns revealed on the
glass of a lyre-shaped clock case.
Figure 2. The blue paint that had backed the gold
leaf delaminated.
behind glass, accents of color or line that would normally be
painted last, must be painted first. For instance, eyebrows on
a face have to be painted before the flesh color can be added.
Color-matching to restore verre églomisé is very timeconsuming. It is not possible to “finesse” a color, as can be done
in the restoration of a color on top of a surface. Matching color
behind glass must be “right on”, since it is immediately apparent
if it is even a tad “off ”; and once color is painted behind glass,
it cannot be adjusted. Matching paint entails hours of mixing
in good light, usually under magnification of both the original
color and the color being mixed. Once we had a good match,
we tested it. We placed a dab of the color very near the one we
were trying to match. We let the paint dry naturally, because
artificial heat might have damaged fragile paint nearby. If, under
magnification, it wasn’t exactly right (and a first test usually
wasn’t) we removed it very carefully with a cotton swab without
destroying any of the original paint. We continued mixing,
matching, and inpainting wherever paint was needed. (Figure
6) The techniques for testing color are described in detail in
the Color chapter in our upcoming book.
The panel scene we were restoring wasn’t originally backed
up with any coating, a characteristic we had observed in similar
Figure 4. Even though the original glass was bent on the
right side, the completed design reconstruction, based
on hundreds of clues, is clearly visible.
works of art. Therefore, to keep the restoration true to the
original, we did not back it up.
The last category – restoring a repetitive design – was
particularly interesting. The client instructed us to remove all
original work from four 5” x 2 1/2” glass panels that were inset
into two tall glass doors that came from a c.1800 secretary and
do our own design. Instead, we carefully documented all existing
work with the processes described earlier, and were able not
only to save almost all of the original work, but also were able
to match leaf and paint and integrate them within all missing
areas. (Figure 7)
We recreated the stylized acanthus leaf design motif by layering
Mylar transparencies and drawing the designs on the front of
the glass, as described earlier. (Figures 8 & 9) We authenticated
the design by researching ornamentation of the period, which
saw a revival of classic motifs as well as of gothic pointed arches.
The same pointed arches were in the design of the muntins of
the glass doors in which the panels were installed, which helped
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R E S T O R AT I O N O F D A M A G E D V E R R E É G L O M I S É
Figure 5. This exhibits the extent of the original paint, as
viewed from the back of the glass.
Figure 8. Tracings of the design before treatment of three
of the four 5-inch panels are shown here. The middle
tracing is the same panel as the one shown above.
Figure 6. This is the restored scene, viewed from the front
of the glass.
Figure 7. The remnants of a design on a glass panel
before treatment.
verify the design. During the years since we restored these glass
panels, we have seen several similar acanthus leaf designs and
pointed arches on glass panels inset into doors of secretaries
of the same period.
We laid the leaf on the back of the glass within the outlines
we had marked on the front of the glass to fill in the acanthus
leaf shapes and gothic arches where they were missing. In contrast
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to this basic leaf-laying procedure done for all gilding
behind glass, the etching process for restoration is much more
complicated than the etching done for original work. The alreadybacked etched gold leaf in damaged verre églomisé obscures
the etched lines that must be continued in the newly laid leaf.
This makes it very difficult to lead the new etching outward
to continue the original etched design. As you will soon see,
trying to restore the etching in such situations is the most timeconsuming of all procedures in restoring damaged work, and
also the most frustrating.
In order to do it, we cut out the center of a tilt-top drafting
table and placed one of the glass doors on the tilted table with
the front of the glass facing us. After putting a standing lamp
behind the tilted table, we began the lengthy process of etching
the newly laid leaf. Reaching behind the glass, a sharpened
bamboo skewer was used to etch blindly into the new leaf. Most
of the time (in fact, all of the time) the scratched mark appeared
in the wrong place. But at least it gave us a starting point from
which to adjust our direction so that we could come closer to the
line that we needed to continue. After what seemed like infinite
hours, we completed the etching. Next, we re-leafed the scratches
that had helped us determine the right places in which to etch.
This process was repeated on the second glass door.
After backing up the newly etched gold leaf motifs with a
mixture of black and burnt umber japan paint and allowing the
coating to dry, we removed all the excess leaf. This exposed the
areas that needed inpainting. As stated earlier, color matching
is quite time-consuming, but it was a relief after the seemingly
interminable restoration of the etching. We completed the
restoration by inpainting the areas that required it, then
breathed a huge sigh of relief. (Figure 10)
CONTINUED
Steps in the restoration of damaged verre
églomisé summarized:
• Document existing reverse-gilding
and painting
• Remove loose, brittle fragments
• Reconstruct original design schemes and
trace on front of glass
• Replace missing gold leaf
• Etch newly-laid leaf
• Back up new leaf and etching
• Remove all unwanted gold leaf
• Mix paint to match existing colors
• Inpaint where necessary
Note: The Smithsonian Institution lecture (and
this condensed version of the presentation) were taken
from Furniture Restoration, by Ina Brosseau Marx
and Allen Marx, to be published in August 2007.
The authors also plan to produce DVDs of all the
processes described in the book. Figure 9. The reconstructed design inked on
the front of the glass can be seen, although
the shadows behind the glass are distracting.
Figure 10. The restored areas were
documented carefully. A restored panel
with the recreated acanthus leaf design is
shown here.
G I L D I N G AT T H E S M I T H S O N I A N 2 0 0 6
By Jill London
J
udging by the overwhelmingly positive response to the
lecture series during the SOG’s Gilding at the Smithsonian
conference, we gilders are thirsty for knowledge and
community involvement. The conference was a resounding
success and posed a unique opportunity for intensive study
with gilding professionals from all over the world. Here is a
brief overview of the lectures and workshops.
Tuesday afternoon’s lectures offered perspectives on verre
églomisé (painting and gilding on glass). Eva Lee shared her work
on such projects as the Queen Mary 2; Ina and Allen Marx
discussed verre églomisé restoration from an historical standpoint; and Miriam Ellner shared her contemporary interpretations
of this beautiful art form. Tuesday night’s topic was “Gilding
of Monumental Sculpture”. Andrew Lins, Mark Rabinowitz
and Michael Kramer lectured about gilding on exterior metal.
Andrew Lins discussed brush plating and fire gilding and
Mark Rabinowitz and Michael Kramer talked about oil gilded
bronze sculpture. The evening included a lively panel discussion
about options for the Sherman sculpture in Central Park.
Wednesday afternoon's lecture, “Gilded Furniture”, featured
Cynthia Moyer and Tad Fallon. Those who attended this lecture
came away with a better understanding of conservation concerns
and methodology. There was ample imagery and professional
explanation of conservation techniques in gilding. Wednesday
evening, Hugh Phibbs, William Adair, Jean Easter and Hubert
Baija discussed picture frames. Jean Easter gave a fact filled
account on proper procedure of object analysis and Hubert Baija
addressed ethical and technical issues of gilded frame conservation.
Bill Adair spoke about frames made in the American West, giving
several examples of frames made during the late 19th and early
20th C. including a few designed by the painter, sculptor and
frame maker Frederic Remington. He described some of the
processes used, such as roman gilding and how these frames have
shown up all over the world. Hugh Phibbs discussed gilded
borders on picture mats and glass and gave insight into the
treatments of this very specific art form.
Thursday afternoon's lecture, “Architectural Gilding”, featured
Giovanni Bucchi, Michael Kramer and Matt Meyers. Giovanni
focused on his restoration of a set of water gilded Italian doors
continued on page 20
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Presidents Past and Future, Michael Kramer (L)
and Peter Miller (R)
Glass Gilding for Signs, Brendon Brandon
#1 Toning, Smith Coleman (Peter Miller shown)
CONTINUED
Re-Gilding of the
Guglielmo Marconi Memorial
Guglielmo Marchese Marconi, ( 25 April 1874 - 20 July 1937) was an Italian scientist generally characterized as
the inventor of radio. Installed in 1941, the "Goddess of Electricity" and bust of Marconi were originally gilded.
The National Park Service contracted with The Gilders' Studio, Inc. to prepare and prime the bronzes for gilding,
which was done by members of the Society of Gilders as a Community Project during "Gilding at the
Smithsonian" in September.
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G I L D I N G AT T H E S M I T H S O N I A N 2 0 0 6
that are now installed at the Metropolitan Museum of Art. He
discussed the origins of the doors and the issues that he and
museum conservators faced in making treatment decisions.
Michael Kramer described working on the Mormon Temple
in Washington, D.C. and the Church of the Holy Sepulchre
in Jerusalem. Matt Meyers spoke about his use of leaf as a
contemporary art medium applied to architecture.
Thursday evening, Jeff Johnson and Angela Caban lectured
on gilding in historic theatres. Dynamic visual presentations
and anecdotes gave the audience an insider's view of Jeff ’s
work at the Hershey Theater in Hershey, Pennsylvania and
Angela’s work at the Hudson Theater in New York City. Each
project required significant research to establish the original
scale, dimensions and surface conditions of the areas being
restored. In both projects, the gilders cooperated closely with
architects, preservation boards and conservators.
Friday afternoon’s hands on demonstration with Patricia
Miranda and Gavin Dovey was informative and a lot of fun.
Patricia shared her vast knowledge of the history of manuscript
illumination with a fabulous display of materials and tools.
Gavin offered a “spellbinding” hands-on demonstration of
gilding and stamping on the spines of books.
In addition to the lecture series, a wide selection of workshops
offered conference participants many opportunities to practice
new skills. Michael Kramer, SOG’s new president, taught oil
gilding. I passed through the class a couple of times and the
students were deeply involved in learning how to work with
various types of metal leaf and precious metals.
The verre églomisé class, taught by Miriam Ellner, produced
beautiful pieces that were on view during the Friday evening
cocktail party. Patricia Miranda taught manuscript illumination.
This class created some fabulous manuscripts in several languages
with beautiful decorative elements interwoven into the designs.
The restoration class taught by Michael Gilbert gave students
an opportunity to work on several frame profiles. Students
learned numerous techniques for making moulds and repairing
several types of gilded surfaces.
Smith Coleman’s class on toning experimented with various
toning materials and distressing techniques on water gilded
mouldings. Brendon Brandon taught glass gilding for signs.
Brendon had the students create numbers in several styles and
then taught them how to back the gilding with paint. And
finally, I taught a traditional water gilding course. It was action
packed in order to cover many techniques in a short time and
we had lots of fun.
These intensive classes were very well received. All of
the classes had participants at many levels of expertise. This
helped create an active, interesting dialogue, and people came
away from the classes inspired, informed and ready to tackle
new projects. I thank everyone who participated in the conference
for sharing their skills, experience and curiosity. Events like this
are a reminder that we all have so much to learn from one
another. Special thanks to Michael Kramer, Peter Miller and
Mary Beth Kelley of the Smithsonian Institution for all the
work they did to create this wonderful educational event. I
look forward to seeing everyone atthe next conference. 20
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Water Gilding
Class
by Jill London
CONTINUED
Bookbinding Demonstration
by Gavin Dovey
Understanding French Frames
by William B. Adair
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A PERSPECTIVE ON GESSO
A perspective on
Gesso
Egg Tempera
Painting on Wood:
Surface Preparation and Painting Techniques
Part two of a series by Patricia Miranda, Society of Gilders member
and lecturer at the SOG conference 'Gilding at the Smithsonian
2006'. Patricia offers an historical introduction to supports for
traditional panel paintings and an indepth discussion of gesso
preparation for tempera painting and gilding.
By Patricia Miranda
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CONTINUED
SUPPORTS: HISTORICAL
AND MODERN MATERIALS
Throughout Europe from the Middle Ages through the
Renaissance, traditional panel paintings were constructed
of solid wood, glued together in planks if large, and often
cradled in the back to help prevent warping. Poplar, birch and
linden were the most common woods, although oak, walnut
and other valuable hardwoods were used as well. Panels were
constructed of woods that would not exude resin, as resin
affects the water-based gesso and paint. Therefore, pine was
not a suitable support. Preparation of the wood was crucial.
Trees were cut in specific patterns and dried very slowly to
help avoid warpage. The extensive care and knowledge of
wood preparation throughout this period meant paintings
warped in a concave manner only. This allowed the gesso
and paint surface to stretch rather than crumble inward, as
it would on a concave surface.
Today, large planks of wood cradled in back are impractical
because they are heavy, expensive, and no longer commonly
available. Fortunately, we have modern materials that are
excellent substitutes, allowing us to create very small to very
large tempera paintings without much difficulty. Many egg
tempera painters successfully use untempered Masonite, a
wood fiberboard. Although many swear by it, personally I
have found Masonite to be unreliable. Medium density
fiberboard (MDF) is also reported to be compatible; however
my experience is too limited to judge fairly. Clay board is
only safe for testing tempera; reportedly it has a synthetic
(probably PVA) base which is known to reject tempera
after many layers.
My preference is to use high quality cabinet-grade birch
or poplar plywood when I cannot use solid wood. For small
panels you can use solid wood or 3/4” plywood. For panels
larger than 11” x 14”, I use 1/8” -3/16” plywood backed with
a strainer around the perimeter, and, according to size, multiple
cross and corner braces to prevent warping. Because of the
sensitivity of using water-based materials on wood, construction
of good quality wood panels is a must. It is a sophisticated
woodworking technique, beyond the scope of this article.
(See resources for panel suppliers.)
SOME FACTS ABOUT GESSO
Gesso is a generic term that refers to any prepared surface that
contains calcium carbonate or calcium sulfate. This includes
such materials as chalk or whiting, gypsum, hydrated lime,
slaked plaster, or marble dust. There are many different kinds
of gesso; gesso for preparing panels, frames, canvas, polychrome
furniture and sculpture; manuscript gesso for applying gold leaf
on parchment or paper; modern and traditional gesso; synthetic
and natural. The function of gesso is to mask the surface of the
wood, canvas, etc. to create a smooth unblemished plane, and to
provide a firm foundation base for paint or gold leaf. Traditional
panels for painting sometimes were covered with a layer of
linen applied to the wood under the gesso. This gave added
support and flexibility to the surface and further masked any
cracking of wood due to natural expansion and contraction.
Modern acrylic gesso is commonly used for canvas and
many other applications and was designed to imitate and/or
replace traditional gesso for modern materials. However, as
an impermeable waterproof material, it is incompatible with
water-based media such as watercolor, gouache, egg tempera,
etc. These paints will not adhere to acrylic and eventually will
crack, fall or flake off the surface. Traditional rabbit skin/
chalk gesso is mainly used today for water-gilded picture
frames, but many artists are rediscovering the beauty of
working on a traditional gesso surface.
The traditional gesso surface is beautiful and luminous,
reflecting the light in incomparable ways. It is a fair amount
of work but the rewards are great. If you spend one weekend
creating panels, you will have enough to last for months. Gesso
recipes vary dramatically. The basic components are similar, but
quantities and type of material vary according to the intended
use and the personal preference of the artist. Gesso can range
from very absorbent to hard and resistant. The absorbency is
controlled by the ratio of glue to whiting or chalk. More glue
makes a harder gesso; more whiting makes it softer. This is a
proportion issue. Adding water, which evaporates as it dries,
does not change that ratio.
PANEL PREPARATION
Glue and Gesso
Before applying gesso, apply a coat of plain rabbit skin
glue to your panel front, back and sides, to seal the surface
and help adhesion. Make a separate batch of glue for this
purpose-do not use the glue prepared for the gesso (or you
will change the glue proportion of your gesso). You can
prepare enough glue and gesso to do several panels at one
time. One batch of gesso covers about 7-10 square feet with
approximately 7- 10 layers, depending on thickness. Follow
instructions for making the rabbit skin glue in the gesso
recipe on page 24.
To Cover Wood with Linen (optional)
If you want to cover wood with linen, do it after you coat
the wood with glue. Use fine weave linen. You can also use
muslin, although this is not traditional. Soak the linen in the
plain rabbit skin glue you used for coating the wood. Squeeze
out excess glue. Lay the linen over the surface of the wood.
Smooth it down firmly with your fingers, then with a plastic
scraper or a brayer. The linen should be totally flat and without
air bubbles. Make sure it is completely adhered to the surface
and beware of edges-you do not want it to begin to lift or
bubble up as it dries! If the edges of the panel are rounded
and you want to gesso the sides, wrap linen around the sides,
trimming the linen so it meets in the corner. Cut off excess
after it is completely dry. Most panel painters will not gesso
sides, as cracking along edges may be a problem. I trim linen
right at the edge when it is totally dry. If you have a shaped
panel or carving, cut linen into strips and lay them evenly
over the panel. Always let glue and linen dry completely
before trimming and before applying gesso.
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A PERSPECTIVE ON GESSO
Basic Gesso Recipe
Gesso recipes vary. The proportions of this recipe are from
Marty Horowitz. I adjust as needed. Applying gesso to large
flat panels is a different challenge from applying it to frames,
which are long and relatively narrow. More care is needed for
a flat, even surface and the consistency of the gesso is very
important. Keep the gesso the consistency of medium to
heavy cream for best results. This recipe works well for panels,
with adjustments made according to circumstance. You can
substitute marble dust for some of the whiting for a harder,
whiter surface. Some gesso contains titanium white pigment
for whiteness. Remember, it is the proportion of glue to whiting
that determines the hardness/softness and absorbency of your
gesso. The more glue to whiting, the harder and less absorbent;
the less glue, the softer and more absorbent.
• 40 grams Pebble Rabbit Skin Glue
• 16 ounces distilled water
• 3 cups whiting
To Make Rabbit Skin Glue
Soak the glue in distilled water until the pebbles are saturated
(they will appear translucent). They need to soak at least two
hours before heating; therefore, I prepare the glue the night
before I make gesso.
Heat glue in a jar in a double boiler (with water in both
top and bottom pots) until the glue is completely dissolved.
Do not let the glue or gesso get too hot at any time! It should
remain blood warm at all times. Too hot, and you will burn
the gesso and destroy the integrity of the glue. If this happens,
throw it away. You will save yourself from worse problems
further on. If some water evaporates during the heating
process, add distilled water at this point to make a full
16 ounces.
To Make Gesso
Add 3 cups gilders whiting. You can sift it in with a flour
sifter or push it through a metal strainer; this will help make
a smooth gesso and reduce air bubbles. Air bubbles create
pinholes in your gesso. Do not mix, do not “dump” whiting
into the glue. Allow whiting to absorb slowly into the water
as you sift it. After adding whiting, push any excess whiting
into the liquid-you do not want any dry whiting on the top
or around the edges of the jar. Some people add a dash of
boiled linseed oil after adding whiting, although I have not
found this helpful. Let the jar sit for one hour in the warm
water of the double boiler, with the heat off, until the whiting
becomes saturated. After one hour, fold ingredients together
slowly; then strain twice through a paint strainer or nylon
stocking. It should be the consistency of heavy cream. You
can add distilled water if it is too thick. It is best to add more
water before straining, as some water always evaporates during
heating. This adds less air bubbles than adding water after
straining. If you have a lot of trouble with air bubbles, mix
your gesso the day before, including straining, then store in
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the refrigerator overnight and reheat the next day. This will
help get rid of air bubbles. Always heat slowly, making sure
the gesso does not get too hot. You can also use a crock pot,
which heats evenly and slowly, especially with large batches.
To Apply Gesso
After applying rabbit skin glue to front, back and sides, apply
gesso only to front. I tape the sides of the panels to keep them
clean, removing them carefully as soon as gesso is finished,
while it is still soft. If you wait until it is dry, it will be hard
to remove and may crack the edges. Apply gesso with a bristle
brush. A very thin first coat can be applied with your fingers,
in a circular motion, sealing the surface. This step is optional.
If you are working on large panels or many at a time, you may
go directly to brushing, but scumble the first coat to push the
gesso into the pores of the wood. Apply each subsequent coat
in opposite directions. Do not let gesso dry completely between
coats-recoat as soon as the gesso firms up and loses glossiness.
Use a light touch, applying a puddle of gesso and pulling it
very gently across the panel using surface tension rather than
“brushing.” A minimum of four coats is required; up to ten
is ideal. Try to do at least seven coats-I never do less. Let
gesso completely dry overnight before you sand. If your gesso
was the right consistency and viscosity you should have little
sanding. However, even if your gesso became lumpy from
cooling too quickly, you can usually wet sand it smooth.
Keep the gesso warm as you apply it, do not apply a hot
layer on top of a cooler one. The gesso should cool slowly
as you layer it.
The next day, apply one or two coats of gesso to the back
to help stabilize and prevent warping. As an alternative, you
can apply several coats of latex to the back. The coating of
both sides with water-based materials should help prevent
your panel from warping.
Wet sanding is the most efficient way to sand. It eliminates
the dust caused by dry sanding. It is also very aggressive! Be
careful not to sand too much, especially around corners, or
you will sand through to the wood. Use 400-600 grit wet
sandpaper. Dip the sandpaper in water or wet the panel where
you are sanding and sand in a circular motion. Use a raking
light to check for smoothness. After wet sanding, let the gesso
dry completely. Sand a final time, dry, with 220-grit or
higher, to achieve a glass-like finish.
Look for the third and final part of this series on Tempera
Painting in the July 2007 issue of The Gilder’s Tip.
For more information about the technical and spiritual
nature of ancient art techniques including panel painting,
iconography, and manuscript illumination, please call or write:
Patricia Miranda
6 North Pearl Street
Port Chester, NY 10573
www.mirandafinearts.com
mirarts@aol.com
914.935.9362
P R I N C I P L E S O F C O N S E R VAT I O N
Principles of Conservation
As They Relate to Gilded Frames
By Jeanmarie Easter
Gilding at the Smithsonian 2006
J
rames present unique conservation challenges
because they are functional works of art. They
support paintings, mirrors, prints, photographs
and three-dimensional objects, but many are objects
of art in their own right. Some are artist designed and
signed; others are mass-produced. If a frame is original
to a work of art, it should stay with the art.
There are a few primary factors to consider when
restoring a frame.
• The surface of the piece: What material is used
(gold or composition metal leaf ) and what was
the original leaf application process?
• The ornament: Is it carved wood, compo,
or plaster?
• Age: Does the frame have historic significance?
Is the frame original to the work of art? Is it
contemporary to the piece?
• Design: Did an artist design the frame? Is it signed?
• Ownership: Who is the current owner and what
is their esthetic?
In France, conservators debate whether to leave old
pieces alone, accepting the flaws and damages incurred
over time as part of the piece itself, or to restore them
to their original condition. But you want to show
the piece in as authentic a setting as it was originally.
I bring this up because this isn't just a European
problem; with the frequency of travel and more and
more art going global, we see more European art and
are influenced by their standard of conservation.
When assessing how to restore gilded works of
art, a restorer must consider a number of factors.
• How far down should the surface be taken? Is the
restoration better served by starting at bare wood or
by retaining some of the original surface treatment?
• How should an ornament be restored? If it was
originally carved wood, the restorer must decide
whether to carve a replacement from wood or
use compo.
• Should the same surface treatment that was
originally used be used for restoration? Gold leaf
is generally replaced by gold leaf; but restoration
of roman gilding, metal leaf and painted gold
are more subjective.
The following discussion elaborates on the principles
of conservation listed in the American Institute of
Conservators guidelines for practice and code of ethics.
In this context, reference to “cultural property”
means frames.
MATERIALS
1. Choose materials that will not have a detrimental
effect on cultural property and will not cause
deterioration of the property or interfere in the
future with newly developed analytical techniques
and treatment. Materials that will cross-link and
therefore become permanent should not be used.
For example, plaster of Paris should not be used
even though the ornament is made of plaster of
Paris because it would be impossible to remove
the repair in a future restoration without
damaging the original frame.
2. Materials and methods should be consistent with
currently accepted methods. This helps predict the
aging properties of the materials being employed
in the current restoration. It will also help future
conservators restore the piece.
3. The materials must be chemically and physically
compatible with the frame.
4. The materials employed in restoration must be
distinguishable from the materials of the frame.
5. Methods and materials must not adversely affect
the frame, or its future examination, scientific
investigation, treatment or function. Repair of
corners must not affect a spline, lap joins, or
any original joinery in the frame.
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CONTINUED
6. The compensation (replacement of materials due to loss),
fill, in paint, etc. should be removable with the least
amount of damage to the frame. Nothing should be used
that requires hacking with a hammer (i.e., liquid nails.)
7. The materials used on the frame should be the most
chemically and physically stable available at the time.
8. Materials used should not preclude re-treatment or
future analysis of the frame.
9. All treatments must be within the competency range of
the person performing the treatment and available facilities.
If one lacks the technical expertise to perform a necessary
procedure. Err on the side of doing less, rather than more,
whenever in doubt as to whether you are technically able
to accomplish a quality restoration. Inform the client
and refer them to someone who is confident they can
restore the piece without damaging it.
10. The quality of work should not be compromised due
to economic concerns. Do not cut corners or do an
incomplete job. This can present a problem when the
cost of proper treatment is more than the client wants
to spend or when the client requests lower quality work
to economize.
11. Testing should be done on mock-ups. Do not use the
frame to test whether toning or golds match.
COMPENSATION FOR LOSSES
1. Losses should be carefully documented.
2. Compensation should be detectable by common
examination methods.
3. Compensation should not falsely modify the known
aesthetic, conceptual and physical characteristics of
the frame by removing or obscuring original materials.
4. Compensation should be reversible because
a. Better methods may become available at a later date.
b. Compensation may be based on supposition. For
example, if all corners of a frame are missing and
research leads to a similar design, but not an exact
match, the corners may be reconstructed from what
appears to be a ‘like sample.’ New information (as
in the location of an exact match) may indicate the
compensation should be modified.
5. Compensation must be reversible in one of three forms
of examination:
a. In visible light
b. In UV radiation
c. With low power magnification.
6. The compensation must be reversible using chemical
or mechanical methods that will not adversely affect the
original surface or material of the frame. For example,
when compensating for a fill with a gesso or bole layer, it
is necessary to apply an isolating layer. B72 is usually used.
7. The compensation must cover as little as possible of the
original surface.
8. The material for compensation should be clearly distinguished by physical or chemical means. When using gesso
as a fill, add barium. Barium can also be added to compo.
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DOCUMENTATION
Both written and photographic documentation are important.
Detailed records provide information for future treatment of
the frame and enrich the profession's body of knowledge. All
documentation should include the following:
• The purpose of the documentation
• The name of the person doing the documentation
• The date
• Before, during and after shots of the piece
Good documentation of the esthetic, conceptual and
physical characteristics of a piece helps the owner, and
society as a whole, appreciate and use the frame appropriately and provides a reference for continued development
of knowledge. It also creates a record that can resolve
misunderstandings and avert unnecessary litigation. To
paraphrase the old adage, a good photographic document
is worth a thousand words.
SUMMARY
As conservators, we are governed by an informed respect
for the frame, its unique character and significance, and
the people or person who created it. We advocate for the
preservation of cultural property. We understand the effects
of UV light, relative humidity, temperature, pollution and
acid on materials. We recognize the importance of preventive
conservation, recommend appropriate environmental
conditions for storage and exhibition, and encourage
proper procedures for handling, packing, and transport.
As conservators of cultural property, we contribute to
the evolution and growth of our profession and have a
responsibility to educate the public about our work. Frames,
in particular, are under valued by the public, even though
many are as important as, and sometimes more important
than, the paintings they surround. I encourage you to keep
in touch not only with fellow conservators, but also with
allied professionals. Explore techniques outside your own
area of expertise that can enhance your skills. For example,
learning about faux finishes improved my toning and
finishing techniques for frames. Finally, share information
about your work with the public whenever you have the
opportunity to do so, because improved public understanding of cultural property benefits everyone in our
increasingly global society. Jeanmarie Easter earned a BA from Fashion Institute of
Technology in the restoration of decorative objects. She worked
for eleven years at Indianapolis Museum of Art. During her
tenure at IMA, she took courses with Jonathan Thornton, Eric
Price, Marty Horowitz, Bill Gautier and Deborah Bigelow.
She received a grant from the Indianapolis Arts council to
study with Richard Halls at the National Portrait Gallery
in London and another from the Wooden Artifacts Group to
study French Furniture Making techniques in France. She
has been an independent restoration consultant since 2001.
N E W T E R R I T O RY F O R G O L D A N D G L A S S
By Frances Binnington
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N E W T E R R I T O RY F O R G O L D A N D G L A S S
It
is now a year since my move
back to my native London and
the dust appears, finally, to be
settling. There have been several
good projects from designers, for
which I am grateful, but they can
be repetitive and tend to lack
imagination. For many high-end
designers and their clients, money
is not the issue preventing them
from commissioning extreme,
challenging designs. It is lack of
courage and imagination. Life is
short; I can only change a very tiny
bit of the world. So, with that in
mind, I find myself concentrating
on my own work and doing what
I can in my own backyard to push
the boundaries.
The combination of glass and
precious leaf has long been my
particular passion and I take this
opportunity to describe the new
direction my work is taking. After
many years working on flat glass
(reverse painting and gilding on
Goblet, Bohemia 1720-25
glass), I realized it was time to
Left: Thicket 2006
explore the third dimension. A
4-week residency at Corning Museum of Glass in 2005 gave me
the chance I needed: I wanted to bring up-to-date the concept
of the ‘double gold glass’. ILLUS. goblet In Bohemia (modern
day Czech Republic) in the early part of the eighteenth century,
ceremonial wine glasses with unfired gilded decoration were in
vogue. The gilding is known these days as Verre Églomisé. These
glasses took my imagination, as they were some of the very few
PIC. Illus. 'Wasp' 2005
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CONTINUED
examples in the history of this art that were decorated
employing techniques that I, and increasingly others, use
today. Being unfired, the gilded surface would of course be
vulnerable which necessitated protection of some kind. On
flat glass the leaf is laid on the reverse, backed with paint
and the whole is framed, affording plenty of protection. But
these glasses, as well as being freestanding objects, are left
uncoloured and doubly vulnerable. The technique was to
gild the outside of one vessel and to closely fit a second vessel
over it, sealing the rim. The technique was not simple,
requiring many, many hours of grinding and polishing.
The effect, however, is delicate and charming. In the gold
leaf, scenes were engraved of a hunt, or of a riding school,
with fine gentlemen galloping around the glass on their
splendid Spanish horses. Examples can be seen in museums
such as Corning and the Victoria and Albert Museum, London.
At Corning, with the help of a glass blower, I attempted
my version, with one glass hanging inside the other, to be
attached at the top rim. ILLUS. two glass domes However,
in my limited time, the technical difficulties of this notion
proved too much. Suffice it to say, I quickly recognized defeat
and stood the idea on its head. Working with my various cut
halves, I managed to make a couple of pairs of domes that
could stand, one within the other. This way, I had maximum
decorative possibilities, with the gilding on the outside of the
inside dome protected by the outside dome. ILLUS. Wasp
‘Thicket’ is a more recent exploration. ILLUS. thicket This
actually has three domes, water gilded with gold, silver and
moon gold respectively, but with no engraving. The base
has an églomisé design, black and gold.
This glass, ILLUS. gash Gash, 2006 was made for an
exhibition, ‘50 Artists, 50 Vases’ in Frauenau, Germany.
In order to alter the shape of the original vase, which was
not to my liking, I worked with Louis Thompson, a London
glassblower. We heated the glass and I cut it and shaped it
while hot. I cold worked the glass to remove all ragged edges,
and then silver-gilded it. Shellacking the silver matted it,
giving contrast to the shiny silver seen through the glass.
Finally, unfired red paint was added.
I am working more and more with glass now, modelling,
casting, cold working and slowly learning many of the glass
workers' techniques. I appreciate the opportunity to bring the
world of gilding, in all its complexities, to meet the extraordinary
world of glass. We shall see what the future holds. Frances Binnington is an artist who, for many years, has worked
with gold and silver leaf on glass. She exhibits and her work is in
the permanent collections of the Victoria and Albert Museum,
London and Corning Museum of Glass, Corning, NY. She is a
former editor of The Gilder's Tip, and teaches classes in Verre
Églomisé in varying locations in Europe and the United States. She
will be teaching in New York in July 2007. More information and
examples of her work can be seen on her website, www.gilding.net.
- Thicket 2006, Wasp 2005, Gash 2006 (Frances Binnington)
Two blown glasses before being cut
Gash 2006
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CALENDAR OF EVENTS 2007 Classes & Conferences
CALIFORNIA
Oil Gilding, Instructor: Jill London
January 13-14, 2007
Oil Gilding: Metal Leaf Finishes, Instructor: Michael W. Kramer
April 11-13, 2007
Traditional Water Gilding, Instructor: Jill London
January 8-11, 2007
Traditional Water Gilding, Instructor: Jill London
January 29 –February 1, 2007
CONNECTICUT
Wood carving for late 19th and early 20th c to
Contemporary American Frames, Instructor: Peter Miller
March 10-12, 2007
MICHIGAN
Manuscript Gilding and Illumination, Instructor: Patricia Miranda
April 12-13, 2007; September 28-30, 2007
Oil Gilding: Metal Leaf Finishes, Instructor: Michael W. Kramer
March 21-23, 2007; October 10-12, 2007
Paint-Making: A Multitude of Mediums, Instructor: Patricia Miranda
February 8-10, 2007
Pastiglia, Gilding and Punching (Grannito), Instructor: Jill London
May 8-11, 2007
Restoration of Gilded Surfaces, Instructor: Michael Gilbert
July 18-20, 2007
Sgraffito, Instructor: Jill London
February 17, 2007
Toning on Gilded Surfaces, Instructor: Michael Gilbert
January 25-26, 2007
Traditional Water Gilding, Instructor: Jerome (Jerry) Feig
February 17-18, 2007
Traditional Water Gilding, Instructor: Jill London
June 6-9, 2007; June 19-22, 2007
NEW YORK
Verre Églomisé, Reverse Painting
and Gilding on Glass, Instructor: Frances Binnington
July 17-20, 2007
Basic Decorative Painting, Instructor: Angela Caban
August 22-24, 2007
Egg Tempera, Instructor: Patricia Miranda
January 19-21, 2007; March 8-10, 2007; October 19-21, 2007
SOUTH CAROLINA
Introduction to Water Gilding, Instructor: Smith B.Coleman
April 11-14, 2007
Frame Making: Developing a Personal Style, Instructor: Patricia Miranda
March 15-19, 2007
C O R P O R AT E S P O N S O R S
I N D E X O F A DV E RT I S E R S
SOCIETY OF GILDERS —
Corporate Members
Anna-Vinzenz Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
GOLD
Foster Planning Mill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
SEPP LEAF PRODUCTS
Peter Sepp, N.Y.C., NY (212) 683-2840
The Gold Leaf Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Easy Leaf Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
www.easyleaf.com
Gilded Planet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
www.gildedplanet.com
PICTURE FRAMING MAGAZINE
Bruce Gherman, NJ
Kremer Pigments, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
www.kremerpigments.com
LEO Uhlfelder Company
SILVER
EASY LEAF PRODUCTS
Larry Neuberg, L.A., CA (800) 569-5323
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
NY Central Art Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
www.nycentralart.com
Reed’s Gold Leaf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
www.rfrme.com
IMTRADEX CORPORATION
Jean Pierre Bauer, Toronto, Canada (416) 656-7676
THE COMPLEAT SCULPTOR
Marc Fields, N.Y.C., NY (800) 9-SCULPT
Please support our Corporate Members with your patronage.
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Sepp Leaf Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Back Cover
www.seppleaf.com
TALAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
www.talasonline.com
W & B Goldleaf / Wehrung & Billmeier
...........................2
Wrights of Lymm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13