Biltmore House Frame Treatments
January 20th, 2009 by admin
Date of Completion: November 18, 2008
Client: The Biltmore House, Asheville, NC
Location: Bynon Art Services, Taylorsville, NC
Procedure
Bynon Art Services (BAS) conservators are Professional Associates of the American Institute for Conservation of Historic and Artistic Works (AIC) and will perform all treatments, documentation and administration within AIC “Code of Ethics” and “Guidelines for Practice”.
Description
Cassetta style frame with applied lamb’s tongue to the back edge, egg and dart compo molding to the inner back edge and bead compo molding to the inner front edge. Applied compo ‘Bow’ ornament to the top of the frame set to the face. This bow is supported by an internal wire. Mitre corner joint held by nails. Surface is water gilded over a black/grey bole and gesso base.
Condition
Measurements: 24 1/8” X 18” (rebate), 31 X 22 ¼” (outside)
This frame is in poor decorative condition. Structurally it is in very good condition.
The image above (Fig. 1) shows the frame with its bow decoration on the top of the frame. There are multiple areas of small loss around the frame where sections of ‘compo’ have been detached and lost. Other areas of loss appear on the flat face surface where losses range from the gilded surface to the wood substructure. Examples of these are illustrated in Figs. 2 and 3.
The above image (Fig. 2) shows one area of loss to the small ‘compo’ molding surrounding the outside edge of the frame. Fig. 3 illustrates an area of loss to the flat face surface. This image also shows the delaminating of the gilded areas on the face of the frame.
The surface of the frame exhibits signs of mishandling in the form of fingerprints and smudges. This appears to be on a wax finish that has discolored, showing areas of flatness. The foremost concern with this frame is the decorative bow/ribbon mounted to the top of the frame. Its construction comprises a metal (iron est.) wire support for a ‘compo’ molding that has been water gilded. Fine, orange, crusty corrosion product is present on the surface of the wire, which has caused cracks, as well as large areas of loss to the ‘compo’ molding. Remaining compo is generally unstable especially because the wire support is misshapen and out of place.
The above image (Fig. 4) illustrates the corrosion adhered to the wire, partially responsible for the losses to the molding. Fig. 5 is a good example in detail of metal corrosion migrating into the ‘compo’. Probably the physical expansion of the corrosion product along with environmental issues that contributed to the corrosion delaminated the compo from its wire support. Of course, these losses will continue if the wire remains unstable.
Cleaning and Consolidation
The surface of the frame was coated in a waxy film that had been disturbed by mishandling and accumulated dirt. Areas of the frame were test. Some areas of the surface were too unstable and fragile to be fully cleaned. Therefore a partial cleaning of the whole frame was undertaken as to maintain a uniform overall appearance.
Figs. 6 and 7 show examples of surface cleaning.
Fig. 4 is an image of the corrosion on the metal support wires of the decorative bow. This corrosion was removed with a fine wire eraser brush. The cleaned wire was then covered with a coat of 5% solution of acryloid B-72 in acetone.
The metal supports were then re-shaped to their original form. All joints and fragile areas of compo were then consolidated.
Molding
It was decided to use compo for the molding replacements in the bow. The recipe used was a standard composition of linseed oil, rosin, pearl glue and calcium carbonate. The compo was prepared in advance and stored until needed. The areas around the reconstruction were coated with 5% solution of acryloid B-72 in acetone to act as an isolation layer. A series of temporary casts were prepared from a part of the frames original molding that could be representative of all the losses. Into these casts silicone RTV was poured and left to cure. Once cured, the silicone mold was placed (detail up), into a small section of aluminum conduit to form the final cast. Into the conduit was poured a two part casting plastic. After the plastic had hardened, it was removed from the aluminum conduit and the silicone mold was removed to reveal the final cast. The final cast was now ready to be set into a block of hardwood so that compo molds could be formed under pressure from a vise. This final plastic cast was worked to eliminate any undercuts.
Below is a brief illustration of the process in preparing the compo molding:
The cast and the wood are coated with linseed oil to release the molding.
A desired amount of compo is place into a steamer to soften.
Once soft, the compo is shaped and placed into the cast.
-then firmly pressed into the cast.
Then the cast with compo is covered with another piece of wood and placed under strong pressure until the compo has cooled.
When removed from the press, the final mold should release with ease.
After the compo has hardened it can be manipulated by steaming, and the new molding will be ready to fit a desired form.
Attaching the Compo
The compo was cut and formed into shape and left to harden. The hardened compo was attached to the wire with a 50% solution of acryloid B-72 in acetone, and held in place with Berna Assembler clamps as in Fig. 8.
After the molding was set in place, the back losses were filled with soft compo.
Other areas of small loss were molded using the same methods described previously. (Figs. 9 and 10)
In the center of the bow was a missing knot. This knot had to be copied from a photograph of an existing frame at the Biltmore House that still possessed its knot. (Fig. 11)
Surface Treatment
The replacement molding on the bow (Fig. 12) was then coated with a layer of gesso. Beva Gesso was used on other areas of the frame including the losses to the surrounding edges.
A layer of gilder’s clay bole was then applied to all areas of loss. (Fig. 13) After the bole had dried, these areas were ready to be gilded and a mixture of water gilding and in-painting areas with mica pigments was carried out.
In areas that were water gilded, a 23.75-carat gold leaf was used. The gold leaf was then burnished and toned with Renaissance Wax mixed with black pigment. Rottenstone was applied, and partially removed, to the newly gilded areas to further match the new gilding with the old.
Finally, a coat of Renaissance Wax was applied overall and buffed in areas, to maintain a uniform appearance. (Figs. 14 and 15)
phone: 828-635-3066 | email: info@bynonartservices.com | © 2008 Bynon Art Services, LLC - all rights reserved | site by Kyte Design | admin Log in