Caring for frames and gilded surfaces
Gilded frames and objects require particular sensitivity. This guide explains what they are made from and how to look after them without causing damage.
Understanding gilded surfaces
Gilding is among the most fragile of all decorative surface treatments. It consists of extremely thin leaves of gold — sometimes only 0.1 microns thick — laid over a prepared ground. Understanding how a frame has been gilded is the first step to caring for it properly.
Water gilding The traditional technique for the finest frames. Gold leaf is applied to a gesso ground coated with bole (a clay-based layer), which is moistened so the gold adheres and can be burnished to a high shine. Water-gilded surfaces are beautiful but highly sensitive — the bole and gesso beneath can absorb moisture, and even light pressure can disturb the gold.
Oil gilding Gold leaf is applied over a slow-drying oil-based size (adhesive). It cannot be burnished to the same shine as water gilding, giving a more matt finish. Oil-gilded surfaces are more robust than water-gilded ones, but still require careful handling.
Gilded composition frames Many Victorian and later frames are made from composition (a moulded mixture of whiting, resin, and animal glue) applied over a wood core, then gilded. These frames are common, decorative, and often fragile, the composition can crack and detach from the wooden support
Note: Water-gilded surfaces have a warm, burnished glow and feel very smooth. Oil-gilded surfaces are slightly more matt. If the gilding has a granular or textured look, it may be composition — or a later repair. If in doubt, a conservator can identify the technique without causing any damage.
Dusting gilded frames safely
Dust is the main maintenance concern for gilded frames in domestic settings. Done incorrectly, dusting can cause more damage than the dust itself.
Use only a very soft brush A wide, soft-bristled brush — a clean, dry watercolour wash brush or a dedicated soft dusting brush, is the safest tool. Synthetic bristles should be checked to ensure they are soft; stiff bristles will scratch.
Work from the top down Begin at the top of the frame and work downward so displaced dust falls away from already-cleaned areas.
Use the lightest possible touch Especially on water-gilded surfaces, apply almost no pressure. The aim is to lift dust with the bristle tips, not to scrub.
Avoid blowing Blowing dust off a frame introduces moisture from breath and can dislodge fragile areas.
Never use cloths or dusters The friction of even a soft cloth against a gilded surface can abrade the gold, flatten detail in composition ornament, and dislodge fragile areas.
What causes gilding to deteriorate
Understanding the causes of deterioration helps you protect frames proactively rather than reactively.
Humidity fluctuations The gesso and composition beneath gilded surfaces expand and contract with changes in humidity. Over time, this causes cracking of the ground and lifting or flaking of the gold leaf above it.
Physical impact Even light bumps can crack composition ornament or dislodge areas of gold that have already begun to lose adhesion. Be especially careful when moving gilded frames, support from beneath and never grip by projecting ornament.
Atmospheric pollution and smoke Fireplace smoke and general atmospheric pollution leave deposits that dull and discolour gilding. This is one reason frames near fireplaces deteriorate faster.
Previous inappropriate repairs Gold paint, varnish, and other materials applied in previous repairs can cause long-term problems. These are best addressed by a conservator, who can reverse them using appropriate solvents and techniques.
When to call a conservator
Many things that can go wrong with gilded frames look simple to fix but are best left to a professional. Attempting repairs without specialist knowledge and materials is likely to make the situation worse and more costly to address later. — Flaking or lifting gold leaf Do not attempt to re-adhere this yourself. The adhesives needed are specific to the technique (animal glue for water gilding, compatible size for oil gilding) and applying the wrong material can prevent the problem ever being properly resolved.
Missing ornamental elements Losses to composition ornament can be filled and retouched by a conservator to match the original. This is skilled work that requires the right materials and significant experience.
Cracks or structural damage Cracks in the frame itself, particularly at joints, need structural consolidation before any surface work is done. An unstable frame cannot be safely treated.
Overall dullness or discolouration A significant build-up of old varnish, wax, or grime can be removed by a conservator to reveal the original gilding beneath. Do not attempt this yourself.
When in doubt, ask a conservator
These guides are intended to help you care for your paintings with confidence. They are not a substitute for professional assessment. If you notice anything concerning — flaking paint, discolouration, structural damage — please get in touch before attempting any intervention yourself
