Oil painting of four horses in a landscape set in an ornate Baroque Revival frame with a bright, evenly toned 24k gold leaf finish after full regilding and restoration.
Equestrian landscape in Baroque Revival frame — frame cleaned, ornament losses rebuilt, and fully regilded in new 24k gold leaf, then toned to a warm, even finish.

GILDED FRAME AND MIRROR RESTORATION AND REPAIR

Cleaning, repairing, and regilding frames, mirrors, and decorative surrounds in gold leaf.
Chelsea Plating Company in Philadelphia restores gilded frames and mirrors for clients in the city and throughout the United States. The workshop treats giltwood and composition frames, pier mirrors, overmantels, and carved or cast surrounds with gold, silver, and related metal leaf finishes—the kind of work many clients describe simply as gold leafing a frame or mirror. Typical projects include stabilizing loose corners and gesso, repairing or rebuilding missing ornament, and then regilding the frame in new high-karat gold leaf before toning it to suit the age and setting of the piece. Some work calls for a quieter approach that focuses on cleaning and limited new leaf, but most frames are prepared and completely regilded so the surface reads as continuous and coherent again.
​Send clear photos and dimensions to begin.

AT A GLANCE — GILDED FRAME AND MIRROR RESTORATION

  • Giltwood and composition frames, mirrors, overmantels, and pier mirrors
  • Baroque, Rococo, Neoclassical, and later revival frames and surrounds
  • Complete regilding of most frames in new 23–24k gold leaf
  • Silver leaf and related metal leaf finishes treated with similar methods
  • Structural work on corners, joints, gesso layers, and applied ornament
  • Losses rebuilt, then gilded and toned to blend with surrounding detail
  • Color and sheen adjusted so the finish suits the object and the room
  • Conservation-focused cleaning and limited new leaf for early or fragile surfaces
  • All work completed in the Philadelphia workshop; no on-site restoration
  • Packing guidance provided before shipping; return shipping arranged from Philadelphia
Close-up of a Federal-style American eagle crest from an oval gilded frame, showing the carved eagle, laurel leaves, and emblems in a bright, evenly toned new gold leaf finish after restoration and regilding.
Federal-style eagle crest — carved eagle and laurel surround cleaned, losses rebuilt, and regilded in new gold leaf, then toned to a warm historic finish.

GILDED FRAMES, MIRRORS, AND SURROUNDS

Many frames and mirrors arrive with a combination of structural and surface issues. Corners may be open, joints loose, and gesso layers cracked or lifting. Applied ornaments at corners and centers can be missing, misaligned, or held in place by aging repair materials. At the same time, the gilded surface is often dulled by smoke and dust, worn through along edges, or buried under later metallic coatings and overpaint.

The workshop begins by separating the frame or surround from any painting, mirror glass, or backing so the structure and finish can be examined safely. Joints and corner blocks are checked, weak gesso is consolidated, and loose elements are stabilized. Where sections of molding or carved ornament are missing, new composition or carved replacements can be introduced and shaped to continue the existing pattern. The goal is a frame or surround that is sound, square, and ready to accept new surface preparation and gilding.
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Only once the structure and ground layers are secure does surface work proceed. Inappropriate coatings and obvious metal paints are reduced where feasible so that the original profile and ornament can be read clearly and new gold leaf will sit evenly. Any decision to leave earlier overpaint in place is made deliberately, with attention to how the frame will function in use.
Before-and-after view of an alpine landscape painting in an ornate Baroque-style gilded frame, first shown with a dull, coppery, worn surface and then with crisp carving and a bright, evenly toned new gold leaf finish after complete regilding.
Alpine landscape in Baroque-style frame — frame stabilized, ornament losses rebuilt, and fully regilded in new gold leaf, then toned to a warm, even finish.

SURFACE PREPARATION, NEW GOLD LEAF, AND TONING

​For most projects, the visible gilded surfaces of the frame are regilded as part of treatment. After repairs and fills are brought to a suitable surface, prepared areas receive an oil-based adhesive and new 23–24k gold leaf is applied across the front and other visible faces. Silver or related metal leaf is used where the original design calls for a cooler tone. Leaf is laid so that profiles, moldings, and carved detail remain legible rather than buried under a heavy new skin.

After the fresh leaf has settled, the frame is toned and glazed. This moderates the brightness of new gold and introduces gentle variation so the surface suits the age of the object and the room where it will live. Some pieces call for a relatively bright, even gold; others are better served by a softer tone and a more shaded treatment of recesses and high points. The aim is a finished surface that reads as coherent and appropriate, not raw or harshly new.
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Occasionally, a frame is early, unusually fragile, or carries a surface that should not be completely replaced. In those cases, work may focus on stabilization, careful cleaning, and limited new leaf in areas of loss, followed by toning to integrate repairs. That more conservative approach is discussed at the estimate stage and reserved for pieces where the original surface itself is a central part of the object’s value.
Before-and-after view of a floral still-life painting in an ornate Baroque-style gilded frame, shown first with a dull, dark, worn gold surface and then with the same carving bright, evenly regilded, and softly toned in new gold leaf.
Floral still-life in Baroque Revival frame — frame cleaned, ornament losses rebuilt, and fully regilded in new gold leaf, then toned to a warm antique finish.

PROCESS, SHIPPING, AND PROJECT SCOPE

​Most gilded frame and mirror projects begin with clear photos and basic dimensions sent through the estimate form. Useful images include the full front, oblique side views, close-ups of corners, losses, cracked gesso, exposed wood or composition, and any areas with heavy overpaint or prior repair. From these, the workshop can outline a likely approach and whether full regilding is appropriate, with the understanding that details are confirmed after direct examination.

When a project moves ahead, clients receive packing guidance so that corners, ornaments, and any glass are well supported and cushioned. Frames and mirrors are shipped to the Philadelphia workshop or hand-delivered by local clients. On arrival, pieces are documented, separated from artwork or glass as needed, and examined for hidden issues not visible in photographs. Small cleaning and toning tests may be carried out in discreet areas to understand how the existing surface responds, and the treatment plan is refined as needed before full work starts.
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After treatment, frames and surrounds are returned ready for installation. If paintings or mirrors were included, components may be reassembled before return when appropriate. Return shipping is arranged from the studio using the agreed packing method. Only pieces that can be safely shipped or hand-delivered are accepted; on-site restoration and installation are not offered.
Before-and-after view of a wooded landscape painting in an ornate floral-and-scroll gilded frame, first shown with a dull gold surface and a broken corner propped by a stick, and then with the corner rebuilt, carving continuous, and the entire frame bright and evenly toned in new 24k gold leaf after regilding.
Landscape in floral-and-scroll frame — broken corner ornament rebuilt, structure stabilized, and frame fully regilded in new 24k gold leaf, then toned to a warm, even finish.
​Send clear photos and dimensions to begin.

BEFORE AND AFTER GALLERY

​The gilded frame and mirror gallery shows examples of frames, mirrors, and decorative surrounds that have been structurally stabilized, repaired, and regilded in high-karat gold leaf. Some projects involve extensive rebuilding of corners and ornaments before new leaf is applied and toned; others focus on clarifying profiles and adjusting color so a frame sits comfortably with existing pieces in a room or collection. Each object is assessed individually so the restored frame or mirror reads as coherent, stable, and appropriate to its age and use.
Before-and-after view of a coastal landscape painting with a castle on cliffs in an ornate Rococo-style gilded frame, first shown with a flat, dark, dirty gold surface and then with crisp carving and a bright, evenly toned new 24k gold leaf finish after complete regilding.
Coastal castle landscape in Rococo Revival frame — dull giltwood frame cleaned, gesso and ornament losses rebuilt, and fully regilded in new 24k gold leaf, then toned to a warm, even finish.
Before-and-after view of four small square gold-leaf portrait frames with oval openings, first shown dull and chipped with dark, uneven gilding and then bright and even, with repaired ornament, warm toned new gold leaf, and clear glazing over the black-and-white photographs.
Miniature gold-leaf portrait frames — dulled gilding cleaned, chips and losses repaired, and new gold leaf applied and toned so the beading and rosettes read clearly again.
Before-and-after view of a Romantic river landscape painting in an ornate Rococo-style gilded frame, first shown with a flat, gray-gold, dirty surface and then with crisp carving and a bright, evenly toned new 24k gold leaf finish after complete regilding.
Romantic river landscape in Rococo Revival frame — dull giltwood frame cleaned, ornament losses repaired, and fully regilded in new 24k gold leaf, then toned to a warm historic finish.
Before-and-after view of a carved religious relief panel in a deep ebonized wood frame with ornate gold mounts, first shown with dark, tarnished gilding and flat black wood, then with bright, refreshed gold leaf on the mounts, cleaner ebonized surfaces, and a more legible carved scene.
Religious relief in ebonized and gilt frame — dull gilded mounts cleaned, rubbed areas re-gilded with new gold leaf, and ebonized surfaces clarified so the carved scene reads clearly again.

FAQ — GILDED FRAME AND MIRROR RESTORATION

DO YOU REGILD THE WHOLE FRAME OR JUST TOUCH UP WORN AREAS?
In most projects, the visible gilded surfaces of the frame or mirror surround are fully regilded with new high-karat gold leaf after structural repairs and preparation. Limited touch-in work is reserved for early or unusually fragile surfaces where a more conservative approach is appropriate and agreed in advance.

WHAT TYPES OF GILDED FRAMES AND MIRRORS DO YOU RESTORE?
Chelsea Plating Company restores giltwood and composition frames, mirrors, overmantels, pier mirrors, and related decorative surrounds finished in gold, silver, or related metal leaf. Both individual frames and matched pairs or sets can be considered, provided they can be safely shipped or hand-delivered to the Philadelphia workshop.

CAN YOU REBUILD MISSING ORNAMENT AND CORNERS?
Missing corner blocks, sections of molding, and applied ornaments can often be rebuilt in composition or carved to match surviving details. These additions are then prepared and gilded along with the rest of the frame. After toning, the repairs read as part of the overall structure rather than isolated patches, while normal evidence of age remains visible in profiles and small transitions.

WILL THE FRAME LOOK “LIKE NEW” AFTER REGILDING?
The goal is a clarified, continuous gilded surface that suits the age and setting of the piece, not a harshly new appearance. After regilding, the gold is toned and glazed so color and sheen feel appropriate. Fine handling marks, soft shadows in recesses, and gentle variation in tone usually remain and help the frame sit comfortably with other objects in the room.
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HOW DOES SHIPPING WORK FOR GILDED FRAMES AND MIRRORS?
All work is completed in the Philadelphia workshop. Before you ship, you receive packing guidance so that corners, ornament, and any glass are supported and cushioned. Frames and mirrors are shipped to the workshop for treatment, and return shipping is arranged from the studio when work is complete. Only pieces that can be safely shipped or hand-delivered are accepted, and no on-site restoration is offered.
​Send clear photos and dimensions to begin.

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