Regency Style Overmantel Mirror (Part I)

Actually looks OK (from a distance)

This Regency-style gilt tri-part overmantel mirror was a revival piece, probably made in the early 20th century. Gilding was probably done with bronzing powders (flash gilding) and or/composition gold. It retains its original heavy mirror plates.

The overall condition was fair/good, with typical damages from age and moving/dropping. Most severe were the losses to the composition fretwork on upper and lower left, and lower right corner blocks and the ring molding at the lower left colonette.. There were noticeable gesso losses, particularly on the right hand colonette, right-most upright with lifting/missing gesso on flat area (probably from mirror being stored on that end against a damp floor), and along bottom rail where loss was probably due to shrinkage of the wood.

Gesso loss on colonette

More gesso loss and lifting

Along the bottom is a wooden strip painted black with a missing section, and separation of bottom rail from dividers due to either shrinkage, or more likely, the weight of mirror plate when mirror was hung on wall rather than resting on a mantel.

Dividers separating from bottom rail

Spit because someone put nails in!

Missing base piece and section of fretwork

More fretwork damage. 

The goal was to make it presentable, but as with other mirrors of this age and type, pursue all deteriorating areas would be a never-ending project.

The treatment plan including cleaning, replacements, gesso infills, gilding and toning. Most importantly, there was a need for an alternative mounting option, since the client wants to hang on the wall, rather than resting on a mantel as was originally intended for this mirror.

We start by cleaning.

First steps were cleaning. Using a conservator's soap solution that leaves no residue, I was able to take off quite a bit of grime as you can see from the used swabs and towels. Ewww.

The repairs begin by replicating the missing cornice fretwork sections. There were originally molded compo, which becomes fragile as it ages and dries. Molds were taken, but the casts were not satisfactory. I had better results by applying a compound and carving directly, since the forms were so geometric.

The next step was to apply gesso to any of the new work, as well as to fill the areas of loss. The gesso will then be scraped/sanded down to the proper level. Gesso work is the most tedious aspect of any restoration.

 Don't worry, it will get better in the next installment!