That was lovely, Eduardo. I love how you show what you're doing step-by-step, from cleaning to retouching the frame's paint. It brings home to me how much you know and the experience you have. The education you give, such as not using water on the edge vs it may be okay on another part, is so valuable (mostly for reminding people not to clean on their own!). Thank you so much for sharing this with us all. On another note, your videography is doing so well. Close-ups are clear & focused, distance still shows detail. Thanks for a very, enjoyable video. Have a very happy Christmas.
Thank you very much, Vickie, your feedback is always so important, thanks for enjoying the video. In fact, when we clean a frame, it is very important to take into account what kind of product we are using, because otherwise, we run the risk of damaging the gold a lot, for example. Thanks for your compliments on my videography, I have been studying a lot, also practicing, so I am glad you can notice some improvements in it. I want to wish you too, Vicky, a wonderful Christmas and a beautiful happy new year.
Yes, this frame was probably left undisturbed for a long time in some attic. That's why it reached our days, not very damaged. I'm working on a video about an important Renaissance painting, when it's finished I'll share it. moonie did you have oportunity to watch this video about Raphael's LORENZO de Medici portrait? ua-cam.com/video/Q0r3epcQTco/v-deo.html Thanks for your comment.
@@Figueiredoartconservation I got "lost" looking at that painting! I didn't feel confident in making a comment but I did feel that two people had worked on that painting? The superb skill in the painting of the hand and that hand showing "mystery" in it and the almost crude face? The hand paint looked it it was applied by a fine brush and the facial area, by a pallet knife. In the last vlog, the ability of Raphael to paint those stunning textiles- that's what genius is all about.
@@mooonie6634 The Lorenzo portrait was painted only by Raphael, maybe you got confused because you hear me saying that a friend says to Lorenzo's secretary that Raphael was waiting for the varnish to dry well on a sunny day. The face was painted also with a brush, The image you saw on the video comes from the videos I made of Raphael's exhibition I made at the National Galery, the lights and my camera caught it in that way, which makes it look a bit more ruff, but in fact, it is very smooth painting too.
Thank you for the detail video about restoring that frame! The frame came out looking great. Your technique with the gold paint, where you brushed down from the edge with the small brush before brushing across with the large brush made a lot of sense, and I was surprised at how little evidence I could see of the two different directions by the end. Very cool. As for restoring old artworks to show to future generations: Restoring old art is definitely an important thing to do. When we look at old art, what we see shapes our thoughts on what life was like at that time, so what we don't see in a piece of art makes us think that what is absent in the wart was absent at that time. Even when we know that there were colors in the Victorian and Edwardian eras, looking at the black-and-white or sepia photographs from those times makes us imagine the people as experiencing black-and-white or sepia times. So if we look at a painting from the Renaissance and the egg tempura has turned colors transparent, or if we look at a painting from the 1700s and the varnish is dark enough to obscure details, on some level we start thinking that in the Renaissance the painters thought angels were insubstantial like ghosts, or that the 1700s were dark and smoky times when people didn't care about appearances. So I think that restoring paintings is important so that we and future generations have a clearer view of the past. However, I don't think that *all* ancient works should be restored right now. Some should be left as they are so that future generations can see what age does to work, and so that the future generations can understand some of the erroneous interpretations our generation has made about the past. Future generations can then make their own restorations, thereby understanding the conservator's craft and the joys of discovering how the past actually displayed itself. After all, if we restored everything right now, it would be just like humans for future generations to ignore the hard work that would take and simply complain that we were arrogant to think we should restore things and we must have done irreparable damage by trying to restore. What are your thoughts on restoration for future generations?
Thank you very much for your beautiful answer in the video. When I brushed that border with the small brush, there is a reason, on the other front side there is the gold leaf, and if I used the wider brush, there would be a risk of exceeding the limit of the border, and paint the gold leaf too, so over there in that area, I had to be a little more precise. How beautiful it was to read your analysis on the restoration of works of art for future generations, I agree with many of the points you indicated. It is very interesting when you say that there were times of black and white or sepia photography, and how in a way this could also have an influence, on the less colorful way of life of societies, at that time. I also agree, that in fact, everything that surrounds us externally, ends up influencing us, even if minimally, in the course of our lives, and how we see life. When you say that not all works need to be restored... Sometimes I think a lot about it, especially in certain projects. . That's something else that has also made me think for a long time. I restore old paintings, but I always try to be as less invasive as possible to the painting, when a painting doesn't have problems with adhesion to the stretcher (it's not broken in that area, for example) I don't remove it from its original stretcher. I always try to preserve the authenticity of the work as much as possible, because that is part of the personality of that work, and makes part of its (life) history. That's why I don't like to do more than what is necessary to preserve it and make it clearer to our eyes and appreciation. To do much more than necessary, just to have a more dramatic restoration, and to somehow sacrifice the authenticity of this or that painting, is outside my aspirations. Even at this moment, a very old small painting was passed to me, probably from the 15th or 16th century. But I've been talking a lot with its owner, about the approach to be taken in restoring this painting, when I look at it despite everything, I think that imperfections in the restoration that was done centuries ago, with other techniques, are beautiful. But restoring it will involve many changes that I will have to consider very carefully, it's a small picture, but it's not easy at all... In my humble opinion, I think that restoration is something beautiful and allows the rebirth of a painting that was once thought dead. How often, myself, am I surprised, after cleaning and removing the old varnish? Sometimes it's incredible. that's why I think it's good that we restore art objects so that they remain alive, and it's possible to admire their beauty, today and tomorrow. But it exists in my opinion and in my personal way of proceeding with a restoration, which is, I never go beyond what is strictly necessary to improve the appearance and visualisation of a work of art. Be as less invasive as possible, and respect the object's personality.
Again a great video, I truly wished i had learned restoration , it is so satisfying to see the results and it is such delicate work, I love it! Great job , Eduardo!
Thank you very much for your feedback and complement on the video, I apreciate it. Yes, restoration is so interesting, Let me tell you, that we can be all our live learning. So it is never too late to go to learn new things that we love.
@@Figueiredoartconservation True, it is never too late. I actually paint myself :) I am picking it back up here in Mexico. Have a great New Year !! Looking forward to more !
Hello good evening, here I am using bone glue in a higher concentration, I can buy the bone glue in pearls and after I prepare the glue 1 part glue pearls and one part water
@@Серж-ы7в I think you are asking about the glue I used to glue the piece of plaster element on the missing place in the frame, right? there I am using a bone glue made with 1 part in volume of dry bone glue and one equal part in volume of water
I probably asked wrong( please tell me the composition of the plaster part you created: plaster + bone glue + water. Did I understand correctly? shown: 3:35 video
The sides of the original antique frames were rarely gilded. They were painted with an ochre or sepia paint - less expensive than the gold leaf, and this would have been the norm… Air-drying clay is easier to use in your silicon mold - than fiddling about with plaster or gesso. It holds the detail beautifully, trims easily and sits down nicely within the gaps. The “under paint” is BOLE - a form of diluted clay which can be red, yellow, blue or black. It’s applied warm, and provides the deep tones underneath the gold leaves when burnished. Shellac? Nope. A light rub with beeswax is a more natural substance to offer a bit of protection to your completed work.
@ you are very welcome! I spent 30 plus years in the high end framing industry in NYC, and picked up a few things along the way. I now work for many of the auction houses here in Ireland, restoring art, frames and antiques - always happy to share some tricks of the trade. Keep up the good work and the videos!
Incredibly sad to see a "conservator" restore something so poorly, this is not a "professionally restored" frame. If its a 200 year old frame, gold paint would never have been used adn to restore it properly, one would use methods and materials similar, or as close as possible, to those used in the original making of the frame. The replacement of the sight-edge ornament for sure should have been gilded, fine you used plaster and not compo. No idea why the sides are being painted with gold paint. I thought the removal of paint on the decorative corner elements would then be followed by proper gilding. Please don't call this a restoration or conservation of an antique frame. I am a frame conservator and we actually would reverse everything you have done.
Sir, I understand your point of view, but you have to take into consideration that there are several ways to restore a piece, and that doesn't mean your way or my way is totally wrong or right. It is also important to consider the will of the owner of the frame. I explain to him what can be done, the different types of restoration, and the value of each type. If the owner of the frame chooses a particular type of restoration because he doesn't want gold leaf, as it is much more expensive, I do what my client wants and what he thinks is better for him to pay for at the moment. If you have the time and opportunity, you can go to the main page of my channel ua-cam.com/channels/dpDYSs4LyqB6QVP3aIbHmg.html choose the "VIDEOS" tab, scroll down a bit, and you will find a gold gilding frame restoration video on gold gilding I made some years ago. In fact, there are things I wouldn't do now concerning real gold gild restoration, but we learn from the errors we make. Thank you.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Tell me in the comments, your opinion about restoring old works of art, so they are available for future generations.
Great vídeo thank you😅
Thank you for your comment 👍💪🙂
A true master of restoring the beauty of antiques
Thank you very much for your comment, so glad you enjoyed it. 👍😊
That was lovely, Eduardo. I love how you show what you're doing step-by-step, from cleaning to retouching the frame's paint. It brings home to me how much you know and the experience you have. The education you give, such as not using water on the edge vs it may be okay on another part, is so valuable (mostly for reminding people not to clean on their own!). Thank you so much for sharing this with us all. On another note, your videography is doing so well. Close-ups are clear & focused, distance still shows detail. Thanks for a very, enjoyable video. Have a very happy Christmas.
Thank you very much, Vickie, your feedback is always so important, thanks for enjoying the video.
In fact, when we clean a frame, it is very important to take into account what kind of product we are using, because otherwise, we run the risk of damaging the gold a lot, for example.
Thanks for your compliments on my videography, I have been studying a lot, also practicing, so I am glad you can notice some improvements in it.
I want to wish you too, Vicky, a wonderful Christmas and a beautiful happy new year.
Considering its age, it was in very good condition. Lovely frame once you finished your restoration of it.
I wish you would lecture on more paintings.
Yes, this frame was probably left undisturbed for a long time in some attic. That's why it reached our days, not very damaged.
I'm working on a video about an important Renaissance painting, when it's finished I'll share it.
moonie did you have oportunity to watch this video about Raphael's LORENZO de Medici portrait? ua-cam.com/video/Q0r3epcQTco/v-deo.html
Thanks for your comment.
@@Figueiredoartconservation I got "lost" looking at that painting! I didn't feel confident in making a comment but I did feel that two people had worked on that painting? The superb skill in the painting of the hand and that hand showing "mystery" in it and the almost crude face? The hand paint looked it it was applied by a fine brush and the facial area, by a pallet knife.
In the last vlog, the ability of Raphael to paint those stunning textiles- that's what genius is all about.
@@mooonie6634 The Lorenzo portrait was painted only by Raphael, maybe you got confused because you hear me saying that a friend says to Lorenzo's secretary that Raphael was waiting for the varnish to dry well on a sunny day. The face was painted also with a brush, The image you saw on the video comes from the videos I made of Raphael's exhibition I made at the National Galery, the lights and my camera caught it in that way, which makes it look a bit more ruff, but in fact, it is very smooth painting too.
@@Figueiredoartconservation Wishing you and your family a wonderful Christmas
@@mooonie6634 Thank you so much Mooonie, I wish you a wonderfull time to you and your family, too.
Amazing work! Loved your video. Thanks.
Thank you for sharing your thoughts 😊
Thank you for the detail video about restoring that frame! The frame came out looking great. Your technique with the gold paint, where you brushed down from the edge with the small brush before brushing across with the large brush made a lot of sense, and I was surprised at how little evidence I could see of the two different directions by the end. Very cool.
As for restoring old artworks to show to future generations:
Restoring old art is definitely an important thing to do. When we look at old art, what we see shapes our thoughts on what life was like at that time, so what we don't see in a piece of art makes us think that what is absent in the wart was absent at that time. Even when we know that there were colors in the Victorian and Edwardian eras, looking at the black-and-white or sepia photographs from those times makes us imagine the people as experiencing black-and-white or sepia times. So if we look at a painting from the Renaissance and the egg tempura has turned colors transparent, or if we look at a painting from the 1700s and the varnish is dark enough to obscure details, on some level we start thinking that in the Renaissance the painters thought angels were insubstantial like ghosts, or that the 1700s were dark and smoky times when people didn't care about appearances. So I think that restoring paintings is important so that we and future generations have a clearer view of the past.
However, I don't think that *all* ancient works should be restored right now. Some should be left as they are so that future generations can see what age does to work, and so that the future generations can understand some of the erroneous interpretations our generation has made about the past. Future generations can then make their own restorations, thereby understanding the conservator's craft and the joys of discovering how the past actually displayed itself. After all, if we restored everything right now, it would be just like humans for future generations to ignore the hard work that would take and simply complain that we were arrogant to think we should restore things and we must have done irreparable damage by trying to restore.
What are your thoughts on restoration for future generations?
Thank you very much for your beautiful answer in the video. When I brushed that border with the small brush, there is a reason, on the other front side there is the gold leaf, and if I used the wider brush, there would be a risk of exceeding the limit of the border, and paint the gold leaf too, so over there in that area, I had to be a little more precise.
How beautiful it was to read your analysis on the restoration of works of art for future generations, I agree with many of the points you indicated.
It is very interesting when you say that there were times of black and white or sepia photography, and how in a way this could also have an influence, on the less colorful way of life of societies, at that time.
I also agree, that in fact, everything that surrounds us externally, ends up influencing us, even if minimally, in the course of our lives, and how we see life.
When you say that not all works need to be restored...
Sometimes I think a lot about it, especially in certain projects. . That's something else that has also made me think for a long time.
I restore old paintings, but I always try to be as less invasive as possible to the painting, when a painting doesn't have problems with adhesion to the stretcher (it's not broken in that area, for example) I don't remove it from its original stretcher.
I always try to preserve the authenticity of the work as much as possible, because that is part of the personality of that work, and makes part of its (life) history. That's why I don't like to do more than what is necessary to preserve it and make it clearer to our eyes and appreciation.
To do much more than necessary, just to have a more dramatic restoration, and to somehow sacrifice the authenticity of this or that painting, is outside my aspirations.
Even at this moment, a very old small painting was passed to me, probably from the 15th or 16th century. But I've been talking a lot with its owner, about the approach to be taken in restoring this painting, when I look at it despite everything, I think that imperfections in the restoration that was done centuries ago, with other techniques, are beautiful.
But restoring it will involve many changes that I will have to consider very carefully, it's a small picture, but it's not easy at all...
In my humble opinion, I think that restoration is something beautiful and allows the rebirth of a painting that was once thought dead.
How often, myself, am I surprised, after cleaning and removing the old varnish? Sometimes it's incredible. that's why I think it's good that we restore art objects so that they remain alive, and it's possible to admire their beauty, today and tomorrow.
But it exists in my opinion and in my personal way of proceeding with a restoration, which is, I never go beyond what is strictly necessary to improve the appearance and visualisation of a work of art.
Be as less invasive as possible, and respect the object's personality.
Again a great video, I truly wished i had learned restoration , it is so satisfying to see the results and it is such delicate work, I love it! Great job , Eduardo!
Thank you very much for your feedback and complement on the video, I apreciate it. Yes, restoration is so interesting, Let me tell you, that we can be all our live learning. So it is never too late to go to learn new things that we love.
@@Figueiredoartconservation True, it is never too late. I actually paint myself :) I am picking it back up here in Mexico. Have a great New Year !! Looking forward to more !
@@TheKeystoneChannel Thank you, and you too have a wonderful new year👌😁
Awesome !!! Fabulous Job
Thank you very much for you comment, and for your complement on the work.
Eduardo pourriez-vous nous dire combien de temps avez-vous mis pour réaliser tout ce travail de restauration?
Thank you for your comment, this was not a very complicated restoration, but between cleaning, molds, and drying, painting, about 6 days.
Excuse me, what kind of solution did you use for polishing and shining gold? Thank you.
Please, for this question contact me by email
Hello
You are doing great))
please tell me what glue you use for the plaster element?
thank you in advance)
Hello good evening, here I am using bone glue in a higher concentration,
I can buy the bone glue in pearls and after I prepare the glue 1 part glue pearls and one part water
@@Figueiredoartconservation thank you! interesting to watch your videos)
@@Figueiredoartconservation Composition of the part: bone glue + water + gesso? Did I understand correctly? my english is very bad, sorry(
@@Серж-ы7в I think you are asking about the glue I used to glue the piece of plaster element on the missing place in the frame, right? there I am using a bone glue made with 1 part in volume of dry bone glue and one equal part in volume of water
I probably asked wrong( please tell me the composition of the plaster part you created: plaster + bone glue + water. Did I understand correctly?
shown: 3:35 video
The sides of the original antique frames were rarely gilded. They were painted with an ochre or sepia paint - less expensive than the gold leaf, and this would have been the norm…
Air-drying clay is easier to use in your silicon mold - than fiddling about with plaster or gesso. It holds the detail beautifully, trims easily and sits down nicely within the gaps.
The “under paint” is BOLE - a form of diluted clay which can be red, yellow, blue or black. It’s applied warm, and provides the deep tones underneath the gold leaves when burnished.
Shellac? Nope.
A light rub with beeswax is a more natural substance to offer a bit of protection to your completed work.
Thank you for your Masterclass, I love it👏👌
@ you are very welcome! I spent 30 plus years in the high end framing industry in NYC, and picked up a few things along the way. I now work for many of the auction houses here in Ireland, restoring art, frames and antiques - always happy to share some tricks of the trade. Keep up the good work and the videos!
@@janechamblesswright119 Thank you for your generosity in sharing it. I really appreciate it.💚
Incredibly sad to see a "conservator" restore something so poorly, this is not a "professionally restored" frame. If its a 200 year old frame, gold paint would never have been used adn to restore it properly, one would use methods and materials similar, or as close as possible, to those used in the original making of the frame. The replacement of the sight-edge ornament for sure should have been gilded, fine you used plaster and not compo. No idea why the sides are being painted with gold paint. I thought the removal of paint on the decorative corner elements would then be followed by proper gilding. Please don't call this a restoration or conservation of an antique frame. I am a frame conservator and we actually would reverse everything you have done.
Sir,
I understand your point of view, but you have to take into consideration that there are several ways to restore a piece, and that doesn't mean your way or my way is totally wrong or right. It is also important to consider the will of the owner of the frame. I explain to him what can be done, the different types of restoration, and the value of each type.
If the owner of the frame chooses a particular type of restoration because he doesn't want gold leaf, as it is much more expensive, I do what my client wants and what he thinks is better for him to pay for at the moment.
If you have the time and opportunity, you can go to the main page of my channel ua-cam.com/channels/dpDYSs4LyqB6QVP3aIbHmg.html choose the "VIDEOS" tab, scroll down a bit, and you will find a gold gilding frame restoration video on gold gilding I made some years ago. In fact, there are things I wouldn't do now concerning real gold gild restoration, but we learn from the errors we make.
Thank you.