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GOLD, GILDING AND PLATED SURFACE RESTORATIONRestoration of gilded frames, ormolu, gold-plated decorative metalwork, and partial gilt surfaces.
Chelsea Plating Company restores gilded and gold-plated surfaces for clients in Philadelphia and throughout the United States. Projects range from gold leaf frame restoration and mirror gilding to renewed gold finishes on religious vessels, trophies, and decorative objects. Many pieces arrive with worn leaf, abraded or painted-over gilding, darkened coatings, or exposed base metal where plating has thinned. The aim is to stabilize the structure, clarify the surface, and respect original color, tooling, and patina. All work is carried out in the Philadelphia workshop; we provide packing guidance before you ship or transport pieces and arrange return shipping from the studio.
Send clear photos and dimensions to begin.
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AT A GLANCE
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Classical vermeil centerpiece — figures and urn replated, decorative detail clarified.
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GILDED FRAMES, ARCHITECTURAL DETAILS, AND ALTARS
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A large share of gilding work involves picture and mirror frames whose gold leaf has worn away on corners and high points. Chips in the gesso and composition layers leave exposed wood or ground, and accumulated coatings can flatten detail and mute the gold. Architectural moldings and decorative panels often show similar wear along edges and projections.
Each frame or architectural element is examined for structural stability and surface condition. Loose or lifting gesso is secured so that remaining original material is supported. Losses are filled and shaped to re-establish the intended profiles, with larger missing ornament reconstructed where needed. Surviving original leaf, toning, and patina are preserved wherever possible. Fresh gold leaf is then applied using modern oil-gilding methods suited to the object’s material and use. The underlying surface is prepared so that new leaf lays smoothly and adheres well to carved, molded, or cast detail. After gilding, the new work is gently toned so it sits comfortably with original surfaces and does not appear abruptly bright. This approach scales from individual frames to larger decorative schemes, including multi-panel altars and other devotional installations whose components can be disassembled, brought to the workshop, gilded, and returned for reinstallation. |
Equine landscape painting — frame gilding refreshed, carved ornament clarified.
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GOLD-PLATED AND GILDED METAL OBJECTS
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Gilded bronze and ormolu mounts on clocks, candelabra, and furniture often arrive with darkened coatings, abrasion on high points, and exposed base metal. Decorative brass, bronze, or silver objects that were originally gold-plated can show similar wear patterns on handles, finials, and edges.
In the workshop, surfaces are cleaned to remove accumulated dirt, failing lacquer, and loose corrosion products. Historic fire-gilded ormolu is treated as a surface to conserve: stable gilding and patina are preserved and gently clarified rather than stripped. Where gilded or plated finishes have worn away or been painted over, and replacement is appropriate, new gilding is carried out using modern leafing methods rather than any mercury-based process. Gold-plated finishes are renewed by electroplating on suitable metal substrates. This is commonly used for religious and liturgical vessels such as chalices, ciboria, and monstrances, as well as for select decorative objects, trophies, and ceremonial pieces where a durable gold surface is required. As with silverplate, the likely outcome is explained in advance, and the condition of the base metal guides what is recommended. |
Rococo mantel clock trio — ormolu surfaces brightened, sculpted detail made legible again.
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PARTIAL GILDING, EXTERIOR GILDING, AND CONSERVATION APPROACH
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Many objects combine gilded elements with plain metal or other materials. Examples include silver-gilt chalices with gold interiors and silver exteriors, bronze sculptures with gilt highlights, and decorative hardware with gold leaf on selected ornament against a darker ground. In these cases, the relationship between gilt and non-gilt areas is as important as the condition of each.
Treatment plans are developed to respect original intent. Sound gilding is cleaned and conserved rather than replaced, and adjacent un-gilt areas are cleaned and refined so that they support the overall design. Where new leaf or plating is needed to repair losses, color and sheen are adjusted so that repairs integrate with the existing finish rather than stand apart. For exterior architectural gilding and devotional pieces that must live in weather, higher-karat leaf and more durable leaf weights are chosen so the gold surface can better resist tarnish and abrasion. The result is a finish intended to remain stable and legible for many years with appropriate care. |
Laszlo Ispanky plaque — darkened relief clarified with new gilding on key details.
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Send clear photos and dimensions to begin.
