Opening Fall of 2018
Museum Quality Custom Framing, Fabrication and Display
We are passionate about the care and display of art, photographs, works on paper, textiles, and sculpture. Framing and display options are designed to ensure the longevity of the pieces we frame through the use of archival mats, mounts, reversible mounting methods including handmade wheat paste and Asian tissue hinges. Also offered are a variety of UV filtering glazing and housing options to protect from environmental and exposure as well as fading.
Our experienced artisans combine the best in old-world craftsmanship with modern techniques to create museum quality framing and displays that not only protect, but are also designed to complement the work for display. While designing framing and presentation options, we reference the piece’s historical context, and work with our clients’ vision to create frames that are works of art in their own right. An archival frame is built to last for generations, collaborate with our designers for that special piece; and create a lasting legacy.
Learn more at
Looking Beyond the Portrait: The Art of Gilded Frames
Bernacki & Associates Lecture at Chicago’s Driehaus Museum
Introduction to historical ornamentation and frame styles, and their relationship to the artistic influences of their respective time periods
Wednesday, November 7, 6–7:30 p.m.
Join Bernacki & Associates Inc. to explore the extraordinary craftsmanship involved with gilding and ornamental surfaces in the creation of portrait frames. Learn the precious artistic and valuable merit of the frames themselves and their crucial, but complementary relationship to the artwork.
Not all frames are created equal. Through hands-on examples, and a live demonstration of the process, learn how to identify authentic gold leaf versus metal leaf, and the various applications used for a variety of finishes. Learn about how to properly care and maintain these precious surfaces to ensure that they can be appreciated well into the future.
Walk away with a new perspective on how to view a painting, with insider knowledge of its frame!
Bernacki & Associates is one of Chicago’s most respected conservation and restoration firms specializing in the treatment of period and contemporary fine furniture, objects, frames and architectural elements.
For more information contact April Hann Lanford at email@example.com, (312) 243-5669.
Chicago business marks 30th anniversary of building heirlooms, restoring antique furniture
Antique Trader | July 9, 2018
CHICAGO – The City of Chicago is home to many specialty businesses, but few businesses are as specialized as Bernacki & Associates, Inc. Founded by owner Stan Bernacki on July 4, 1988, the company’s focus is squarely centered upon the restoration and conservation offine antique furniture, upholstery, artwork, clocks, artifacts, sculpture, frames, family heirlooms, and historic millwork.
Serving a Varied Clientele
Bernacki and his team of specialists also design and build custom furniture and interiors. His variety of clients include museums, antique and art dealers, interior designers, architects, insurance claims specialists and private collectors. From its humble beginnings in a garage near the corners of Ogden and Grand Avenues, Bernacki & Associates quickly flourished and just four years later relocated operations to a larger and more modern facility at 424 North Oakley Boulevard in Chicago. Over 20,000 square feet of modern space comfortably accommodates ample workspace for his skilled artisans, conservators, gilders, upholsterers, framers, and wood carvers.
Conserving Form and Function
The Treatment of Antique Klismos Chairs
There are times when antiques require the attention of conservators. An interior designer or architect are often asked for a resource of whom they would feel best qualified for a particular piece.
The striking set of antique klismos chairs were part of a collection belonging to a client of Denise Antonucci, ASID, of ASI Interiors. She contacted Bernacki & Associates to care for the chairs. The chairs were not only beautiful to look at, but were also regularly used in her client’s home.
Mother-of-pearl is a beautiful naturally forming material that has been used as a decorative inlay for centuries. More properly known as nacre, it is a calcium and protein composite substance that is only produced by certain mollusks as an inner shell layer and is the outer layer of pearls. It is very strong and resilient due to its structure which consists of overlapping sheets of brittle aragonite separated by more elastic biopolymers. The thickness of the aragonite leads to the beautiful iridescence and structural colors that seem to change and flow as your viewing angle shifts. It has been used in the design of jewelry, decorative objects such as furniture and musical instruments, and architecture. In furniture, mother-of-pearl has mostly been applied in graceful, distinctive inlays to contrast with surrounding wood or other surrounding surfaces or as a complete overlay to add beauty to a less distinctive substrate.
Meet the Experts: Art Rescue 911
Thursday, April 26, 6:30 - 8 p.m.
The Richard H. Driehaus Museum
40 East Erie Street | Chicago, Illinois 60611
Bernacki & Associates is one of Chicago’s premier conservation & restoration firms specializing in “saving” period furniture, objects, historic millwork and architectural elements. This event, featuring founder Stan Bernacki, will include live demonstrations of the work the group is known for as well as an account of some of their favorite “cases.”
Considerations in the Cleaning of Fine Art and Frames
By April Hann Lanford, DPR Art Rescue, LLC
We often see artwork come to our studio for treatment that has damage from improper cleaning attempts. While a caretaker has the best of intentions, sometimes their cleaning can do more harm than good. It should be noted that one should not be afraid to allow a little dust to accumulate on a piece. Even the most gentle cleaning processes involve some friction, which can lead to eventual abrasion of the surface. Sometimes, it is more prudent to have a little dust accumulation rather than inadvertently risk the cumulative effects of regular cleaning or potentially damaging the surface through improper care. If it is determined that the piece warrants cleaning, you must first confirm the item is stable enough to be cleaned. The surface should be assessed for evidence of instability such as paint craquelure, delamination of decorative films, etc. If there are any signs of instability or damage, the condition should be documented prior to stabilization and commencement of any further treatment.
Modern Day Monuments Women Share Tips For Saving Your Art Collection From Natural Disasters
The Conservation of Historic Irish Harps
By Barton Bjorneberg, Conservator, Bernacki & Associates, Inc.
...This article is going to center on the question of conservation of musical instruments, specifically harps. The primary purpose of creating a musical instrument is to fabricate a tool that will be used to make the art of music. The initial importance and quality of the instrument is primarily determined by the quality of the sounds it can create and the ease with which it can make those sounds. Instruments are made of differing types and qualities of materials and craftsmanship. The quality of the sound does not necessarily have anything to do with the quality of manufacture or the beauty of its visual appearance. Anyone who has been involved in the creating of musical instruments has had the experience of a beautifully crafted and exquisitely detailed instrument that always sounds dead and lifeless. This is often contrasted by an instrument whose finish turned out horribly, the joinery does not match accurately, and the figuring of the wood is dull, but when put in the hands of a true musician comes alive and makes sounds that are so beautiful, they make people cry.
But what happens when an old instrument can no longer make the sounds it was created to make due to failure of structural material? When the only way to return that instrument to working condition is to replace large sections of original material? When does that mass of metal and wood move from a sound making machine to a sculptural and historic artifact? Harps are extreme examples of the question and it affects how rare completely original harps are and how important those few then become....
Historical Resonance: Playing an Antique Egan Harp
By Nancy Hurrell, Harp Consultant, Museum of Fine Arts, Boston
The highly decorative Portable Irish Harp, with delicate strands of gilt shamrocks and ornate swirling acanthus on a colored ground, is collected as an art object and examples are displayed in museums worldwide - but what does it sound like? Produced in the early 1800s by Ireland’s leading harp maker John Egan (fl.1803-1829), the harps were touted in newspaper adverts as having ‘great brilliancy’ and ‘sweetness of tone’. The instruments gained widespread notoriety for their splendid appearance and sound, and Egan harps graced the music rooms of the great houses of Ireland and were also played by members of the Royal Family in England. In 1821 John Egan was bestowed the prestigious Royal Warrant by the King along with the title of ‘Harp Maker to George IV and the Royal Family’, and the Royal Crest is etched on the brass plates of harps produced after this date. A century later, several harp makers imitated Egan’s Irish harp model, and it became the prototype for today’s popular Celtic harp. By the early 1900s, most extant Egan Irish harps were no longer playable, but were sold and collected as rare artifacts.
As antiques, Egan Portable Irish Harps are valued for their attractive sculptural qualities, handsome neo-classical decoration and Irish symbolism, and examples are preserved in several major museum collections around the world: Metropolitan (New York), MFA (Boston), National Museum of Ireland (Dublin), V&A and Horniman (London), Musikmuseet (Sweden), as well as significant instrument collections in France, Italy and Belgium and also Japan. Typically Egan harps in museums are cosmetically strung, having the appearance of being playable, but in fact the strings are kept slack. Although wood gives the instrument its characteristic sound, the constant stress of string tension on wood over time tends to pull up the thin soundboard, and the neck twists, bringing the harp’s playing days to an end. Real horror stories are known in which fragile antique harps simply collapsed as the strings were brought up to tension. Still, with modern techniques of historical restoration, it is now possible for a few Egan harps to be made playable again.
Art & Furniture Care: Safe Handling
By April Hann Lanford, DPR Art Rescue, LLC
One of the greatest risk exposures for damage of items is from improper handling.
The first step in the safe handling of an item is to assess whether it is stable enough to be moved. Awareness of the inherent structure of the piece, along with its current condition issues are paramount in reducing the risk of damage. Once the condition issues have been identified, you can then strategize on how to best accommodate any compromised areas and safeguard the item to avoid further damage during handling and transport. Depending on the condition issues, you may need to consult a specialist to assess and stabilize areas of concern first.