The Gilded Cage offers in-house restoration of antique picture & mirror frames,
we also restore paintings in oil & acrylic. Some paper based paintings are also restored in-house and also wood & gesso objets d'art.
Restoration of an oil painting on thin carton. Painting was covered in a varnish which had heavily discoloured over the decades. A difficult varnish to remove & some of the colours of the painting were not stable & damage to the carton had caused deep cracks & loss of paint to the surface of the painting. The painting was carefully cleaned, damage stabilised & colours retouched. Last photo shows the painting with new varnish protection and new frame with special protective anti reflecting glass.
Note: The beautiful colour of the woman's clothing appears grey under the discolured varnish and decades of grime.
This is the painting before restoration. it was decided to mount it upon a The second stage shows the painting after being mounted upon board.
a solid base because of the fragile condition of the old canvas and to keep Filler has been applied to the areas where the paint is missing, prior to
costs down. The surface of the painting is in a deteriorated state, paint retouching.
has flaked away from the canvas and the stretcher has deformed the
Detail of a section of the stretcher edge of the The painting after restoration in it's restored frame. Without restoration, this painting may have
painting showing the fragile nature of the lining. eventually been lost to the ravages of time.
This painting by Karl Friedrich Karthaus, has suffered the ravages of time and an This image shows surface damage right down to the pri-
unknown reckless hand. At some time, the painting has been removed from it's mer, and the acrylic paint covering the original damaged
canvas and glued to a board. Because the varnish had yellowed, someone had varnish and oil paint.
attempted to sand the varnish off, realising the 'error', then proceeded to apply
acrylic paint with fingers to the entire upper part of the painting (incuding semi-
covering the tree) To the middle right, shows a small area on the mountain tip
where I have removed some of the yellowed varnish.
Areas with yellowed varnish removed. More yellowed varnish removed; also the overlayer of acylic paint, on the
sky of the landscape.
The painting has been brought back from it's sad and ruined state. Most of the sky area had to be re-painted,
as it had been damaged beyond non-intrusive restoration. The frame which came with the painting, has also undergone
a transformation; corners have been re-cut and joined, and a new finish applied, to complement this
wonderful warm landscape.
Sometimes a painting and it's 'house', get a little tired after a hundred years or so;
canvas has lost it's tautness, flakes of colour have came away from the paint surface,
the frame's corners have loosened, plaster and decoration damaged, gilding discoloured...
Time for a freshen up! Let's make this little french beauty once more, 'pretty as a picture'
The painting surface has been cleaned and stabilised; canvas re-stretched and missing paint areas retouched.
The frame's mitres have been finely re-cut and re-joined; gilding has been refreshed and damaged, cracked decoration, repaired.
A name plaque has been made (in house) to give the painting an added touch of museum elegance.
Bouché Margot (ca. 1850 ~ 1920) Oel auf Leinwand 1907