More pictures of our elegant hurdy gurdy player.
And now for my favourite monkey, the bagpipe player.
His yellow-painted bagpipe was cleaned to reveal a wonderful puce shade. First him in his 'repaired' state -
And now restored -
Both the original hands were missing and the bag-end, mouth-piece and pipes of his bagpipe.
His existing right arm stump was in a crazy twisted position which made for awkward piping. However, adding the forearm, cuff and hand still did not get that arm over to the pipe area.
I couldn't resist the look on his face and it seemed more logical to extend the hand to follow his gaze. The owner of the monkey consented to let me put a couple of gold coins in his hand. His look is totally appealing.
Heres an outtake of how the items are built.
Monday, 31 October 2016
Some Limbach (?) porcelain monkey musicians dropped by recently, a little the worse for wear.
At first glance you can see that the fellow with a curved element in his hand is actually missing a large round horn. Attachments of the missing horn appear at his lips, sleeve and cuff.
The Hurdy Gurdy Player appears to be playing a tiny lute-like instrument and is missing a foot.
The Bagpiper's instrument was painted with yellow oil paint and is missing most of the bag-end and pipes.
It's only when you start annotating pictures that the whole ugly truth comes out. In the next 3 pictures, I've indicated where major chips needed addressing. Yellow arrows and circled areas show all of the chips and areas replaced with badly sculpted plaster material, including arms, hands and instruments.
A really good cleanup was needed. Although I originally thought I would use some of the 'repairs' I didn't because repaired arms and hands did not make anatomical sense.
The fragment of horn still in the fingerless hand of the horn player was a major problem also and after considering it for a long while, I decided to remove the original material there as well.
A metal split ring was the exact diameter of the body of this horn based on the original attachment areas at the break of the arm and the cuff. I looked at various pictures online of similar horn players.
Here is our visitor with his new horn, as well as all chips and missing fingers and toes. There was unfortunately no space for a flaring bell on the horn - but perhaps it is a hunting horn instead of a French horn.
The Hurdy Gurdy Player really was more of a problem. She appeared to have a small lute-like instrument. When I researched similar figures, I saw that hurdy gurdys were a much different shape.
I took a picture of one while at Louisbourg Fort during the summer.
These instruments are played with both hands in the 'over' position, one on the crank and one over the top board to reach the keys. The position of the figure's left arm which still had original material to the elbow was entirely too long and had to be fudged to be an undershot hand. Perhaps she is just arriving with her instrument.
Another thought is that she is actually a singer that had a book on her lap and no hurdy gurdy at all! She has the sitting position with one leg slightly raised that the singer figures quite often had. However, she was billed as a hurdy gurdy player, and so she was going to play it.
Research of similar figures have both standing and seated players.
I had puzzled for a long time whether her legs were actually crossed - but dismissed that because the left foot existed in the original and the big monkey toe was positioned correctly. I had no choice but to make the right foot which was missing as a proper right monkey foot. I could not match the size of the left as it appeared out of proportion raised that high. We finally decided in the studio that she would get a more pointed elegant foot since it was so prominent.
Here she is about to start playing her hurdy gurdy.
Friday, 18 December 2015
Make sure you see the first post about this restoration here -
Things have dried up nicely here in the village of Rang de la Rotule (I think this is sort of like 'Kneecap Junction'), and my cart pulling guys helping the old mule are looking very nubbly.
I could hardly wait to paint them up. What fun!
This is the orange foamy guys painted in. Just so you remember - here was the photograph of the original figures. I know, nothing about the two pictures look the same - the angles all look different (a trick of the difference lenses used?)
Miss Kneecap, the beauty queen, now has her helpers back and I wish I knew the whole story.
I have one other part of it in a second plaque; but I'm not sure if it depicts a collision with another cart. Is there anyone else out there that can tell me if this is a prequel or sequel? ;)
Thursday, 17 December 2015
I received this wonderful folk-art plaque by Édouard Jasmin of Quebec and was asked to restore it; but the owner didn't seem to realize that major elements of the cartoon 'story' of the plaque were entirely missing.
Jasmin told humorous stories in pottery - and I had to scratch my head wondering what this one was about.
Eventually the owner supplied a picture of the plaque which you can see below. Sorry about this picture. I tried to colour correct it a bit, but there was no hope. It was an old paper photograph.
It seems that it took three guys to haul the local beauty queen through the village. Two of them were missing in action.
Modelling in my usually types of clays would actually turn out too smooth and precise and because the photo supplied was quite blurry and lo res, I had to get down and dirty for the effect of horrible sculpting.
I tricked up some awful figures in a spongy modelling foam that was sold in an art supply store for young children, just to see how they would air-dry.
These were very smooth and balloon-like and they got cut up bamboo skewers for their 'traces' for the cart. The more I looked at them, the more I thought I could actually use them.
Here they are again below, with various viscosities of white glue patted over their surface.
By now, I was really taking a shine to these characters. I will let them dry and start colouring them up.
Friday, 19 September 2014
More Chambers tiles have fallen from the plywood backing in Grimsby.
This is an excellent opportunity to remove the various types of adhesives on these and get m into shape to re-mount.
Here I am removing contact cement from a tile. Contact cement, asphalt and tile adhesive!
After pieces large areas together, I intend to get interior reinforcing done. I will also take up bad original fits by bridging gaps where the tiles shrank in the kiln.
Here's me 'buttering up' the interior of a tile to bridge gaps before the curved top surface goes on.
Tuesday, 8 April 2014
What happens when an old restoration breaks? Sometimes you want to save it as part of the history of the object.
Here is an interesting blue-glazed buff earthenware charger bought in Holland which is almost 35% plaster restoration.
This restoration might have been done about a hundred years ago and I would say it was a nice restoration.
Then, the charger was broken into fragments again. Whoever tried to repair it was not finding it very easy to glue together the plaster restoration. Perhaps a few people attempted it with various glues.
So, what do you do now? The plaster is very nicely shaped with nice replication of the pie-crust edge and embossed punts. Before I did some surface cleaning on the majolica fragments, the blue colour looked well matched.
I'll be posting progress on this object as I treat it. The first step will be to remove paint and shellac from the original material. Then it will be stabilized - the joins, both majolica and plaster, will be reinforced and filled.
This 2nd picture shows the same charger surface-cleaned, reinforced, filled and the plaster repair re-saturated on the surface.
The change of vibrancy of colour is perhaps not as marked in real life. The lighting and camera used were different, I must admit; but there is a marked improvement in detail both on the original material and the repair. The surface dirt had been giving it a sickly cast.
Here's the charger after touching up the in-fill and an overall microwax.
Monday, 7 April 2014
A few years back I was asked to help with the production of two new fireplace surrounds for a home renovation. A box of assorted Victorian tiles landed on my doorstep and I was to clean and mend scorched tiles that were prised off an old fireplace. It was quite the assortment.
After we had a final count of tiles, it was realized that many more fireplace-grade tiles of the same size and 'depth' or width would have to be found.
I realized that this wouldn't look right unless the new tiles were English, from the same era (Aesthetic Movement) and had similar transfer-decorated motifs, style and colours. The tiles were largely floral in various colours - some very emphatic! They tended to be geometric rather than realistic. So, English fireplace grade transfer non-embossed Aesthetic Movement Victorian tiles.
It was EBay to the rescue! After many false starts, I found dealers in England who had boxes of mixed tiles in storage and often had two of the same type.
The computer was useful in making tiny virtual tiles that I could move around on digital versions of the fireplace drawings. Above is one of the fireplaces with an assortment of 'provided' and 'aquired' tiles.