A wonderful, memorable day in Knutsford visiting a new gallery partner yesterday. It was simply a joy to be in the company of truly artistic souls for a few hours. I have much to do today, compiling information and images, and preparing the way for this exciting opportunity.
I'm working on technical documentation for all of these freshly delivered artworks today. I have some slight adjustments to make to The Love Reliquary, to make it more easily wall mountable and make the base truly optional, and to apply gold to the edges. I also want to do something about holding the side paintings in place, but this is a complex challenge. I can't stick them in, they need to be removable for possible future restoration or care. If I use pins or similar they will encroach upon the painting. I can't use a magnet as with the central panel; the magnet there is concealed in the back and I can't conceal one in the gilded doors. My idea is to use a tiny rubber wedge.
At the last moment I remembered that the God Being Killed painting used imitation gold for the frame rather than genuine gold leaf. In almost all cases I use and prefer real gold for everything (this might be the only time I've ever used imitation gold), although there's a visual and textural difference between gold and imitation (imitation leaf which can include brass, aluminium or other metals). Non-gold can crisp, crackle and form sharper ridges, and is available in many shades including blues and greens; it looks and feels slightly different. Real gold is smoother, softer in the way it folds and flows, and can be found in shades from silver to rich gold. I use palladium leaf or white gold too, at times. Anyway, here I will gild the inner door edges in 23.5kt gold.
Time is short. Tick tick.
