THE
GUILD IN THE PRESS
Arts Quarterly July/Aug/Sept.
2003
With a Little Help from Our Fiends:
The New Orleans Conservation Guild Restores a First Empire Frame
by John
Webster Keefe
The RosaMary Foundation Curator
of the Decorative Arts, NOMA
In and era of shrinking global national, state and local support for
museums and their programs, it is frequently all but impossible to put
some objects into "exhibition condition" without assistance
from skilled and qualified colleagues. Such was the case with the splendid
First Empire (1804-14) carved giltwood frame surrounding Baron Antoine-Jean
Gro's full-length 1808 portrait of Empress Josephine at her beloved
chateau of Malmaison. The portrait belongs to the Musée d'Art
et d'Histoire, Palais Masséna, Nice, France, and was presented
by the empress to her friend Monsieur Pierlot in 1810.
When the New Orleans Museum of Art requested the loan of this impressive
portrait to the exhibition Jefferson's America & Napoleon's France,
there was concern on the part of the Musée Masséna that
the frame was not in sufficiently good condition to travel or to be
exhibited. This problem was compounded by damage sustained in shipping
to the United States. At that juncture, the Museum asked the New Orleans
Conservation Guild if its highly skilled group of modelers, carvers
and gilders could come to its assistance. Happily for the Musée
Masséna and visitors of the exhibition, the guild and its director
Blake Vonder Haar agreed to undertake the complex restoration as a gesture
of international good will.
The most recent transit damage had caused large structural defects that
separated the layers of wood in the frame, i.e., the gilded facade and
the underlying carcase wood. These cracks included one on one side that
measured more than five feet in length and, on the opposite side, another
of three and a half feet. These large cracks were accompanied by other
smaller fissures extending from the outer to the inner edges of the
gilded surface. The frame also had suffered an earlier amateurish restoration
in which the missing molded relief palmettes had been crudely executed
and whose gilding made little attempt to blend newly gilded area with
the original goldleaf, creating a splotched brassy surface. Thus, the
artisans of the guild were faced with a two-fold problem: to stabilize
the structure of the frame and to replicate the missing or unrefined
decorative elements.
The frame was structurally repaired and the earlier disguising coat
of ruby shellac was removed, with extreme care being taken not to disturb
and original elements. That accomplished, the unsatisfactory replaced
ornamental details were removed, which left the frame with thirty-five
to forty percent of its original decoration. Molds of the missing palmettes
and other details were made and new parts cast, put in place and detailed
in situ. The replaced ornament and those frame areas were then prepared
with a gesso, a viscous chalk and glue fluid applied as a ground for
gilding and which is capable of taking great detail. Gesso also had
the added attributes of filling crevices and softening edges. It was
applied in layers and, once dry, could be cut into the format of the
underlying preliminary wood carving. Once this cutting and refinement
were accomplished, the gessoed surfaces were covered with bole, an extremely
finely ground earth composed of clay and iron oxide, which was then
burnished, creating an electrostatic surface to which the notoriously
delicate gold leaf could adhere. Since the bole was red in color, it
added brilliance and a warm tone to the overlain goldleaf. The gilding
was accomplished by a water gilding process, applying the gold one leaf
at a time, utilizing 23.75-karat gold. The highlights were then burnished
as well in order to heighten their brilliance.
The final challenge facing the skilled and painstaking guild team was
to match this new gilding to the original, which had, of course, oxidized
and slightly discolored over nearly two centuries. The edges of the
new and original gilding were blended and the entire surface toned to
provide a homogenous appearance that reflected the present age and the
original appearance of the frame.
As if this complicated and labor-intensive work were not enough, it
was then discovered that the carved giltwood donor cartouche centering
the top rail was seriously soiled, had been covered in gold paint and
bore a quantity of old excess glue, the result of past attempts to attach
it to its support. Once cleaned, it was clear that a number of the delicately
carved leaves in its wreath were missing, and these had to be replaced
and regilded. In the past, this element had been attached to the frame
rail by screws, resulting in a number of unnecessary holes that had
to be filled. That accomplished, new holes were set with removable pins
so the plaque could be easily removed and packed separately when the
painting was returned to its French home.
In looking at such rare period frames, it is crucial to bear in mind
that they usually cost more than the painting they surrounded. Although
Baron Antoine-Jean Gros (1771-1835) became a prominent history painter
and portraitist under Napoleon I, and is today regarded as an important
early nineteenth-century precursor of Romanticism, it is probable that
the frame for this large portrait of the fashion plate Empress Josephine
cost more than his painting in its day. The eighteenth and early nineteenth
centuries regarded frames as important pieces of furniture; this was
particularly true for large-scale portraits of exalted personages. Thus
it was crucial for the purposes of exhibition that the frame for this
full-length portrait of "that incomparable Josephine," commissioned
by the emperor in 1808, resemble as nearly as possible its appearance
195 years ago.
To accomplish this, the highly trained and skilled members of the New
Orleans Conservation Guild team headed by senior frame restorer Anne-Clark
Cromwell work for a total of seventy-eight hours, or nearly two forty-hour
work weeks, and used thirteen books, or 325 leaves, of 23.75-karat gold.
The brilliant result is an artfully restored frame that very closely
resembles its original appearance in 1808, the year Baron Gros completed
the major portrait it contains.
The New Orleans Museum of Art is grateful to the New Orleans Conservation
Guild for this major contribution to the success of the Jefferson's
America & Napoleon's France exhibition, which could only have come
to fruition through such shared talent and skills.
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