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Much is written about the methods for restoring just about
everything from china to paintings but I have found nothing to help with things like
polychrome statues. I had to learn it on my own. The problem with these statues, is that they are foundationally constructed of large blocks of wood, glued together to form a solid background from which to work. It is then carved, on the outside, to the form one desired, then plastered over with plaster for the art form. On top of that was normally applied gold plating. On top of that, was applied the painted artwork. In patterned areas, the paint was scratched back, exposing the gold through the design. (Not all of these statues, have the gold plating but many do) Considering that most of them are 100 to 500 years old and glued with what was available at the time, which was most likely horse hoof glue, they are fragile and falling apart. The interiors are separating, leaving very little (if any) stability. The exterior design work is then cracking and pieces falling off, through the years. If you happen to run across one of these babies, I hope for the most surface artwork possible, still intact. Replacing missing pieces gets tricky, as you practically have to read the artists mind. The first thing I do, when faced with one of these forms, is to restabilize. There is no use in doctoring the outside if all you have is paint and plaster to hold the statue together. Most times, the interior wood is so broken down (if not rotten), there is no choice but to modernize. I mix enough resin to dribble through the seams inside, forming a bond between the blocks of wood. After the resin is set up, the form is strong enough to handle you working on it. Reattach the base, if you've had to remove one. To add additional security, I then drill long narrow holes, crosswise of the seams. Usually these are at the shoulders, mid face from side to side and sometimes even a leg. Then I use a large hypodermic needle to inject resin,forming a plastic nail. The resin should seep down, leaving a hole. This is perfect. For patching, I use Thompson Rock Hard Wood putty. I especially like it because I can mix it thick or thin. Thin is powdery and easy to manipulate, while thick will form a plastic hard surface. I fill the holes I've drilled, with the rock hard water putty, let dry and sand. For missing pieces of plate, on the surface, I prefer to use plaster. While the plaster is still very watery, I use a paint brush and brush it on where I need it. After its dry, you can use fine sand paper. Since gold plating is all but impossible for a restorationist, here's what I suggest for replacement. Over the top of completely dried plaster, I apply a thick sealer. Lay the piece being patched, so that it's level with the floor so that the sealer will 'settle out'. The smoother the surface, the better. Over that,I apply gold leaf. I use regular artists paints in the tube for the design work. When I'm finished, for the sake of endurance, I seal the pieces in with a matte spray sealer. When I'm done, the piece is hardly original but it appears to be so. Work with the point of an X-acto blade, to pop off old pieces of paint that is not the original. |
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