The frames and mirrors that come through the studio are too numerous to document individually. Here is a sampling of what we have seen. They include gilded mirror restoration, newly gilded pieces, tortoiseshell, ebonizing, and paint.
The paint on this clock was starting to separate, and powder. We secured it with a thin glue and light clamping. We did touch-ups where necessary, while retaining the natural aging.
This tole cachepot had rust spots, and missing paint. It also needed a serious cleaning.
This Madonna needed cleaning, and structural repairs. The splits and chips were filled, then in-painted, and gilded.
This screen's surface was tenting. There was a lot of missing lacquer, and it needed a light polish.
This guy had been given a coat of white spray-paint, and some gold paint highlights, so he needed to be brought back down to his original, very vivid colors. This could only be achieved by picking with a scalpel, because anything stronger would have removed both the new and the original paint.
This rare pair of lion-dogs were restored at least four previous times. They were received covered with a new layer of gilding, that was itself, quite unstable. After poking around, we discovered, what would be the remains of the original ground, with fragments of the original paint, and took it down to that level. They had very few carving loses, which we replaced, and while doing so, discovered the date inscription on the inside of one of the loose pieces of wood.
This mirror had missing carving, as well as general flaking, and quite a few chips.
Wrought-iron table finished to clients specifications. Bronze-esque with antiqued gold details.
Custom fabricated. Teak and faux bone inlay, made by hand from polymer clay, and teak inlay.
The corners on this mirror separated, and there were missing carvings to replace, and match in.
Restoration to several different Japanese paper screens. Tears, scratches, and dents.
These two mirrors were covered in "radiator paint", which usually means there is a lot a damage that needed covering up. Once stripped, a surprising amount of original gilding was intact, and the rest was gilded to match.
This French 18th century painting arrived in a roll, and a large percentage of it's 9 X 10 foot surface had turned to powder at the bottom of the tube. The backing was also decomposing, so it needed to be re-backed, stabilized, and in-painted. We decided to temporarily mount it on a folding frame, so that it could be more easily moved and set back up. This certainly is the biggest painting I have worked on to date.