This visually stunning and technically detailed book is an
in-depth analysis of the materials and techniques used on thirty
eight of the V&A's Renaissance frames. The book will teach the
reader to recognise frame style, structure and surface decoration
of the period, as well as additions and alterations and later
frames in the style.
* First detailed technical analysis of the V&A's most
important Renaissance frames
* Highly illustrated with 100 + colour photos of front back and
details, digital reconstructions, section profiles, and
illustrations of frame types, joints and mouldings.
* Provides a comparative reference for Renaissance frames in
other publications
Christine Powell has worked at the V&A since 1993. She is a
Senior Furniture Conservator specialising in gilt wood European
Furniture, mirror and picture frames. She has also worked at The
National Gallery London for seven years as conservator working on
European painted and gilt wood altarpieces and frames and The
Wallace Collection for two years on European gilt wood frames and
furniture. She has taught and published articles on the history,
materials techniques and conservation of gilding. Christine studied
furniture making and restoration of furniture at the London College
of Furniture (latterly the Metropolitan University) including wood
finishing, carving and gilding. Before this she worked in private
practice for furniture restoration and special paint effects firms.
She also attended Epsom School of Art and Design.
Zoe Allen first joined the V&A in 2000 to work on gilt
wooden objects for the British Galleries and returned to the
V&A in 2003 where she has worked since as Frames and Gilded
Furniture Conservator. Before joining the V&A full time she
worked as a conservator for both public institutions, such as
English Heritage, and private practices including projects at the
Royal Academy, St Paul s Cathedral and Somerset House. Zoe has
published articles on her work. After a first degree in French
Literature, Zoe studied conservation at the City & Guilds of
London Art School. Her training covered the conservation of objects
made from wood, stone and other sculptural materials, gilding and
decorative surfaces. Internships included the National Institute
for Restoration, Croatia, the Royal Collection, London and the
Museum of London.
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