This Mirror Had Visitors

As found

Oh, the perils of purchasing something on-line!

This small mirror was inexpensive (yes, you get what you pay for) but the size and look were appealing, particularly since although the mirror plate was likely not original, they followed the convention of beveled edge, separate plates. 

 Upon pickup, the mirror required a bit of examination. Still unclear to me is whether the frame is original, or an adaptation/alteration. There was evidence of insect infestation (although not current). Particular enticing areas were the small blocks holding the mirror plate, which, as was usual, were adhered with an animal glue. Very tempting to insects. In addition, some of the built up gesso suffered the same fate, again, due to the animal glue component. 

Since there is no evidence of fresh or recent frass (a classier name for insect you-know-what) I'm not concerned about continued damage. Treatment will begin with wood consolidant, then rebuilding of the most damaged areas. 

 The surface has an old finish. I'm thinking that a cleaning/waxing will be in keeping. The liner, once repaired will be re-gilded. 

Approximately 39" x 14" Purchase date 8/10/19

Another One Finally Checked on the "To-Do" List

 

These little mirrors are smaller versions of the typical early 19th century "cottage" mirrors with their split balusters, corner blocks and a panel at the top. The antique version would hold a reverse glass painting. These mini versions usually had a print of a "Colonial" scene, and judging by the photos or prints they appear to be from the 1020s or so.

They show up fairly frequently, and I don't know why I bought this one. Probably just felt bad for it. I spruced up the frame and did a reverse glass painting. It now looks more like a period mirror.

This wasn't a particularly difficult or time consuming project, so why was it on the wall of my workshop, staring reproachfully at me for a few years before I finally tackled it? As they say, "the cobbler's children....".

Anyway, another of the pandemic era projects is finally done!

Finished. Approximately 13" high.

In its original state

A Mirror! Aristocracy! The Theater!

Sometimes a project reveals information that, while not important or valuable, does at least liven up the day a bit.

When you need to work on an old frame or mirror, it is nice when you need to do a small repair without opening everything up. For bigger projects, you need to dismantle. This is primarily for ease of work (and minimizing risk too art or mirror plate. Sometimes you want to learn more, and need to look for clues inside.

This over-mantel mirror is in sorry condition. Probably English, 18th century, as soon as I saw it I knew the mirror was replaced (if the mirror was period). Mirrors of this type would not have a single panel of mirror plate; the custom was for three panels, usually with slightly beveled edges, and no wooden dividers between them. This is usually attributed to taxation on large panes of glass or mirror; probably just as likely to the logistics and expense of getting a single large piece. 

Arrival in my elegantly appointed workshop

 In any event, as soon as I lifted it I knew the glass was replaced, as this was heavy plate glass. While this type of glass is of good quality, it is not a good replacement for antique mirrors that were made for thinner, lighter glass. Often times the frames cannot support the weight, and hanging hardware pulls out of the old, dry wood and the mirror comes crashing down. This one had eye-hooks and wire spanning the frame; NOT the way you want to hang a mirror like this. A miracle it survived at all.

First step was to remove the back panels. 

Museum accession label

Pasted on the backboard is a Cincinnati Art Museum accession label from 1945, showing source as the Marquise de Talleyrand.

The nails holding the panels were modern wire nails, as would be expected with replaced mirror plate. And, as was common with framers years back, cardboard was used between the mirror and dust panels.

Cardboard a sign that this mirror has been worked on since the 18th century

When I turned them over - a theatrical surprise! Someone had used theater posters. The Ruth Gordon poster was for a play from the 1944 season; the ballet was likely from 1950. So unless the workshop had a really old stash of stuff, this mirror plate was probably replaced in the early 1950s.

Maybe the workshop was in the theater district?

Will need to stabilize the gesso, and make any infills needed. The rails are not carved, then gessoed, but instead the gesso is built into a thick layer and then carved. Tedious work to be sure.

This is another one of my personal projects, so it will probably be pretty low on the priority list. Don't expect to see an update on the finished project any time soon, but at least now, without the glass it's a lot easier to lift into its storage slot.

Another Mirror I Really Didn't Want

Mirror as found

These later version of the classic overmantel mirror were popular between the 1890s and WWI eras. They usually wound up hanging over a sideboard in the dining room if not actually used over a fireplace. They are usually poorly constructed with thin molded ornament. They are also usually deteriorating and not worth taking home, much less restoring. 

I happened across this one, and the price ($10!) was, as they say, right. I didn't really want the frame - I wanted it for the piece of mirror plate in the center section. When I got home with it, I realized that it was more substantial, and of better quality than most of these I run across. The turnings and ornament were fairly robust, and the prints nice copies of early ones. Some areas were water gilt, the rest flash gilded. 

Of course, nothing is perfect. There was a section of rail that sustained damage. I made a mold and cast a replacement. Actually two, since fitting these curved pieces can be tricky, and invariable at least one attempt shatters. Having a backup ensures that the first one will work fine and the second will not be needed.

There will be some gesso fills and touch-ups. I'm also debating replacing the prints with mirror plate. But since it will probably just end up in storage, maybe I'll make that decision later.

Missing section and new casting

Casting fitted into position

Keeping Busy while Keeping my Social Distance

I realize that it has been a while since a blog entry. And now that we are in isolation mode it seems like a good chance to get caught up on a lot of things.

I'm using this time to work on a client project, as well as some of my own that have fallen by the wayside, never made it out of storage (and recent purchases).

Tools of the trade

The pieces shown here are for a chandelier. I received the unassembled pieces (Hey, kids, get this great "Make Your Own Chandelier Kit", but here is an illustration of a similar one on the project page: http://www.forthillstudios.com/Restorations/Chandelier2020/chandelier.html

This mirror was hanging on the wall for a bout a year. Finally stripped paint last month.

Now the structural repair begins

While the situation we are in is not pleasant, I'll try to make good use of my time. Both working on projects and posting about them.

I saw an oval potrait like the one below while previewing an auction. Then remembered I had one just like it in storage waiting for a repair. Now I'll put this in the queue.

As often happens, edges suffer losses on these ovals

Not the most extraordinary example, but the reverse painting was intact, the surface of the frame oxidized/aged but not over-painted. Corner elements need repair, but this is usually one of the simplest types of repairs. Currently hanging by the laundry room as a constant reproach. This could be its time!

All right, all right. I'll get to it.

Adding a Pair to a Full House

While not period antiques, this pair of mirrors is very attractive, and are descendants of the way many frames and mirrors were made in the nineteenth century when the use of composition ornament took over from hand carving.

That means, unfortunately, they suffer from the same inherent faults of using compo as their predecessors: wood and compo expand and contract at different rates, and pieces of the molded ornament can lose their grip and fall off. These mirrors had losses (as well as a previous bad repair). 

The mystery is what happened to these large pieces - I suspect someone has an end table with these pieces in the drawer, and has wondered what they belonged to.

Removing a very bad old repair attempt.

While it looks daunting, this is usually a simple repair.

 Another problem with this style of mirror is that when not on the wall, they need to lie flat as there is no way to lean them on an edge without damaging them. This one suffered a break to one bottom swag, breaking the piece and bending the wire armature out of alignment.

When examining these closely, I noticed how they were not identical, due to the way the ornament was applied. While not attaining perfection, these differences indicate that human beings worked on them.

Someone wasn't careful.

The repairs were fairly straightforward - molding and casting, gilding and toning.

Molding and casting replacement sections.

Currently on the wall for their own protection until a suitable packing case arrangement can be built for safely transporting them. Meanwhile, the previous wall occupants have been exiled to storage.

Finished!

A Little Light Classical

Finished eglomise panel

I accumulate mirrors, sometimes just for the glass panels. Of course, sometimes these were broken, but I have them for my archive and use them to make a copy.

This mirror is one I purchased for the panel (earlier post here),  and after making my copies (another post here), decided I wanted to make the mirror useful again. I had been wanting to do something in a classical vein, with a more refined image, and wanted a mirror with a more delicate frame to match. Aha, I had this one on hand.

Mirror with original broken panel

I found an image in one of the Dover books on classical themed illustration, and used that as the basis for this version.

The procedure is the same as I have described in other blog postings: Gold leaf on the glass, etch, backup areas with black, then apply background paint.

Gold leaf backed u p with paint

Finished project

Swept Away in the Flood - of 1938

"How high's the water, Momma?"

More than the lobster or lighthouses, your trip to Maine should include a stop at the Miles Hospital rummage sale. Years ago, these were enormous three day affairs under large tents. Merchandise was collected all year, and dispersed in one weekend. This was quite a fundraiser; by the time the ended a few years ago they were taking in over 100K  - amazing, when you consider that you could pretty much fill your car with purchases and not spend over $20.

They now have monthly sales at their collection center. I usually find some household stuff, books, glasses to replace the ones that get broken, etc.

This time I also found a painting. It is definitely an amateur effort, made appealing by the label on the back with the name of the artist, the date (May, 1938) and the person to whom it was given.

No "regifting"

I couldn't quite figure out whether the scene was accurate. Trees seemed to be growing out of the river - was this intentional, or a failed attempt at depicting snow? I knew there was a hurricane in New England that year, but that was in September, and this was clearly a winter scene. A quick search turned up stories of major flooding in March of that year due to extremely heavy rainfall in Maine. Aha, she was probably painting the effects of the flooding rivers.

While not in the category of Grandma Moses, it is still a fun souvenir of Maine history.

Label Text: Painted by Mamie Paine, May 25, 1938. Town name blacked out, but faded enough to make out "Plymouth Maine".

Given to Vera Tasker. Town name blacked out, but faded enough to make out "Dixmont Maine".



This seems logical, as these two towns are close to each other.

Free Chairs?

Finished! 

When I say I am taking care of some long-dormant projects, I really mean it. This pair of chairs is finally finished. I realized when looking over the old pictures that I have had them since at least 2012.  These chairs were originally donated to a fundraiser, and no one wanted them. The owner didn't want to take them home, and asked me to take them. I did so reluctantly. After various peregrinations between garage, cellar and attic, 

I felt a start would be to at least repair and prep them. This caused somewhat of  a dilemma, as described in an older post:

This type of chair, common in the Pennsylvania area, have various names: Yoke back, plank seat, lyre back and fiddle back (depending on the shape of the splat). Among one group they are called "Schnader" chairs, due to a collection of designs painted by a Mr. Schnader of Pennsylvania in the 1940s.

Typical chair design (source unknown)

 

Base coat of salmon pink

I always liked the bold colorful designs, and had some patterns to work from. But when it finally came time to start painting them, I simply went my own way, creating an original design by building up element by element.

Start of banding and striping

Building up a design (you can see I multi-task)

An original design!

While the design is not an authentic re-creation, it does provide a colorful pair of chairs ready for use, rather than incomplete and nagging at me. Note to self: don't be too willing when someone offers you free furniture!

The Mystery of the Windmill Mirror

As purchased

I purchased this large mirror at auction. Federal style, but I suspect, based on the construction and some other clues, it is from the 1890-1920 period. I have seen other Federal style mirrors made during this period, and the workmanship is usually of high quality, and there is an adherence to the original that can make them difficult to attribute to a specific period. I have seen some, by the Boston firm "Foster Brothers" that are particularly good reproductions. Another, with a Wallace Nutting label, had some of the best reverse glass painting I've seen. I think these "second period" mirrors intrigue me, since at the time, it would not have been difficult to obtain a period piece. Perhaps the fad of "Colonial" during that period made them in demand, and, like today, many people like "antiques" (as long as they are not old).

Back construction indicates late 19th or early 20th century

Nicely done panel

I appreciated the workmanship on this one, in particular the nice eglomise panel with a diapered pattern on the sides, and a central scene of a windmill. Since the price was reasonable (due to damages), I wasn't concerned with the age, and felt that it may have been a replacement. One day, as is my habit, I was looking on-line at houses for sale, and one in the next town had photo showing my mirror in the living room. Since the house was on the next street over from a well known painter of early American decoration, I wondered if she was connected, and/or executed the glass panel.

Damage detail

The damages, while distracting, were not as difficult to fix as they might appear. One leaf ornament was missing, but this was a common composition ornament, and I already had a mold from another mirror project. A quick casting, and it was ready to gesso and gild to match the others.

The colonnettes and their bases had gesso cracking and losses. Since this was systemic failure of the gesso bond, I took off the gesso and re-applied new gesso. They were then water gilded. As usual, I want my antique mirrors and frames to show wear (which will be more pronounced on the delicate water gilt areas than on the oil gilded sections).

When I get a space to leave this out, I might disassemble the backing and see if there is more information or clues. But for now, with repairs done, it will get packed away out of harm's way.

Finished!

The Eagle has (Finally) Landed

Finished!

This mirror was purchased a few years back, and due to its size and weight, and difficulty in handling, it was worked on in fits and starts.

My guess is that this is 1930s vintage. These late mirrors are usually weak and not substantial, but this one was heavy and bold looking, approximately 36" high, 28" wide. Unlike traditional wood/gesso, the eagle and perch are solidly cast.

When it arrived it had breaks and a few losses to the side garlands, some missing spherules, and was of course, covered in "radiator paint", which was likely its original finish.

The remaining spherules were metal with a brass finish, and had badly tarnished,  so I knew I would be making replacements.

How it arrived

Gummy green bronze paint - Yum!

The first steps were to strip the finish and take care of breaks and missing pieces. It began to look better to me with the finish stripped. I was debating whether to gild, or perhaps paint it white or gray. I had leeway since it wasn't a period mirror.

Once stripped, repairs can begin.

Gesso day (note new spherules)

I liked it so much in white gesso, I was tempted to leave it that way.

Once I had a coat or two of gesso on it, I decided to gild at least parts of it. Then as I went along, I decided it would be totally gilt, and finished to look older than it is.

Wherever this winds up, there had better be some substantial anchors in the wall.