An antique gilded frame is a layered object: wood, gesso, clay bole, gold leaf, and a century or more of toning and honest wear. Cared for properly, it will outlive all of us. Cared for casually, it can lose in one afternoon what took a gilder weeks to build. Here is what to do, what never to do, and how to know when it's time for the restoration bench.
The rules of daily life
Dust with a soft, dry brush only. A clean sable or goat-hair brush, feather-light, a few times a year. Never cloths — threads catch on ornament and lift loose leaf — and never feather dusters for the same reason.
No liquids, ever. Water dissolves the gesso and bole underneath the gold; household cleaners are worse. A “quick wipe with a damp cloth” is the single most common cause of stripped gilding we see.
Watch the climate. Gilded frames fail from the inside out: humidity swings move the wood, the rigid gesso layer cracks, and leaf follows. Keep gilded frames off exterior walls in humid rooms, away from supply vents and fireplaces, and out of direct sun, which both fades toning and cooks the gesso dry.
Handle by the sides. Lift a gilded frame by its outer edges with clean, dry hands — never by the top rail, and never by the ornament, which is often hollow composition rather than solid wood.
Gold, or gold-colored?
Genuine water gilding shows warm clay bole at worn high points and a depth that shifts in raking light. Later “restorations” with radiator paint or bronze powder look flat and greenish-brown by comparison — bronze powders oxidize. If your frame has been touched up this way, don't spot-gild it — new leaf laid into an old surface almost never matches, and the repair ends up more visible than the damage. Bring it in instead: the right answer runs from leaving it alone, to full regilding for a frame that warrants it, to a new frame made in its spirit.
When to call the restorer
Bring a frame in — and stop dusting it — when you see: flaking or tenting leaf (lifting flakes that a brush would pull off); loose or missing ornament (save every fragment, however small — casting from an original beats modeling from a photograph); open corners (the miters separating as old glue fails, which is structural, not cosmetic); chalky white patches (exposed gesso where leaf has gone); or a painting that no longer sits securely in the rabbet.
What restoration actually involves
At our bench, restoration runs from careful cleaning, through stabilization of corners and ornament, to casting missing composition ornament from surviving sections, carving losses in wood, and in-painting and toning so repairs disappear into the original surface. Full regilding — taking a frame back to the gesso and gilding it anew — is a different undertaking: slow, costly, and reserved for frames that truly warrant it. The default is always the least intervention that makes the frame whole: an antique frame's soft wear is part of its value, and erasing it is a loss, not a repair.
Is it worth it?
Often, yes. Period frames are collected in their own right, and an original frame adds real value to the painting it holds. But have it assessed before deciding either way. The honest answer is sometimes “stabilize it and leave the wear alone,” sometimes “restore it” — and sometimes, when a frame is far gone and not itself significant, “a new frame made in its spirit will serve the painting better than a heroic rescue.” We'll tell you which, and why.