We've all heard about priceless paintings being stolen from major museums. You may not know that there is a register for lost or stolen art and that museums have their own network to help retrieve missing art. If interested, see http://www.museum-security.org
One use for this register is to record the more than 20,000 art objects stolen by the Nazis during WWII from the Jews in Belgium and France. Over half of the objects have not been returned to their original owners. There is a new listing--searching by item, artist, owner, and whether the art has been returned to families who owned them pre-WWII. The United States Holocaust Memorial Museum is providing technical support to the project of the Conference on Jewish Material Claims Against Germany.
Wednesday, October 20, 2010
Wednesday, October 13, 2010
Opinions of value
Museum Shop, Ltd. will give you an opinion as to the value of your art, assuming it has a legible signature. We use proprietary web sites to look up information about the artist and on recent sales of his work. We have contacts at the world's major auction houses who can refer us to the leading authority on an artist, who can authenticate an art piece, most often for a fee of several hundred dollars or more. Without this authentication, the art will not be considered genuine and would be difficult to sell.
Our process and information sources are the same that a Certified Apraiser uses. Appraisers, however, often charge between $150-200 an hour. Museum Shop, Ltd. charges $100 an hour for the first hour and $80 for each hour thereafter.
Our process and information sources are the same that a Certified Apraiser uses. Appraisers, however, often charge between $150-200 an hour. Museum Shop, Ltd. charges $100 an hour for the first hour and $80 for each hour thereafter.
Wednesday, September 29, 2010
Utraviolet Light in Oil Painting Restoration
One procedure we use to analyse the condition of an oil painting is examination under ultraviolet light, which can yield much information.
Museum Shop, Ltd. has found hidden signatures which were not visible under normal light. We have found second, presumably original, signatures. Details not visible to the naked eye can be apparent under ultraviolet light.
This is a close-up of part of a painting from the 1700s brought to us for restoration. When the owner purchased the painting, she was assured that it had never been restored. Our ultraviolet examination, however, clearly showed the tell-tale spots of previous retouching, (the dark spots) which was extensive. The owner was shocked!
Today's standard of practice in art restoration are to retouch a painting as little as possbile. The more a conservator adds to a painting, the less it becomes the work of the original artist.
Additionally, all work done by a conservator should be fully reversible.
How is an Etching Made?
Before cameras were commonplace, there was no way to save the images of places visited, loved ones, events, etc.......unless you were an artist. Doing an oil painting was fine, but it only produced one. Enter etching, which was (partially) portable and could produce many copies.
Artists such as James McNiell Whistler and Joseph Pennell carried etching plates (more later) with them, especially when travelling, and could stop and scratch the image into the plate with a diamond point etching needle, recording what they were seeing. When they returned to their studios, they did the second half of the process, the printing.
An etching is made on a copper (more expensive but softer) or zinc etching plate, which is simply a sheet of metal the size of the finished etching, with a polished surface. Several could easily fit in a saddlebag or suitcase. On location, the artist uses a diamond-point etching needle to scratch (etch) the image into the etching plate. Back in the studio, he applies ink to the plate, puts a piece of paper on top, sandwiches these between two thick felt blankets, and puts them through his etching press, a finished "dry point" etching. Because the lines in the plate are relatively shallow and they get "mashed" each time the plate is put through the press, the plate may not be able to produce many good prints. Drypoint etchings are almost always printed with black or sepia ink.
The more complicated process is usually simply called an etching. Before etching the image into the plate, the artist coats it evenly with wax , or ground. He etches the image into the plate and submerges it in a large tray of nitric acid. The acid eats away the artist's lines, or image, which is where the ground has been removed. The remaining wax protects the areas where the ground remains. The longer the plate is in the acid, the deeper and wider the lines become. An eagle feather may be gently stroked across the plate to remove oxygen bubbles. Most artists will judge if the lines have become wide enough by not only examining the plate, but also feeling the lines with their fingers. When he is satisfied, the plate is removed from the acid, the ground is removed with turpentine, and a print,(an artist's proof), is made. The artist, if he approves of the result, then prints as many etchings as he wishes. If he is not satisfied with the result, he may cover the plate with ground again and deepen the image with his etching needle or add more detail, then put it into the acid again. Several artist's proofs may have to be made and they all get the notation in pencil at the bottom, "AP" or, in French, "EA". Because the lines are wider and deeper than with dry point etchings, it's possible to print more etchings this way, before the plate breaks down.
Whistler printed his own etchings, and because of the time and physical work required, his editions were small, often around 25 prints. Most ethical artists today print editions of 100-300. When editions are much larger, it may mean that the artist is very commercial. Artists who are especially prolific may create the etched plate themselves, then turn the printing, the manual labor, over to someone who specializes in doing it.
Artists such as James McNiell Whistler and Joseph Pennell carried etching plates (more later) with them, especially when travelling, and could stop and scratch the image into the plate with a diamond point etching needle, recording what they were seeing. When they returned to their studios, they did the second half of the process, the printing.
An etching is made on a copper (more expensive but softer) or zinc etching plate, which is simply a sheet of metal the size of the finished etching, with a polished surface. Several could easily fit in a saddlebag or suitcase. On location, the artist uses a diamond-point etching needle to scratch (etch) the image into the etching plate. Back in the studio, he applies ink to the plate, puts a piece of paper on top, sandwiches these between two thick felt blankets, and puts them through his etching press, a finished "dry point" etching. Because the lines in the plate are relatively shallow and they get "mashed" each time the plate is put through the press, the plate may not be able to produce many good prints. Drypoint etchings are almost always printed with black or sepia ink.
The more complicated process is usually simply called an etching. Before etching the image into the plate, the artist coats it evenly with wax , or ground. He etches the image into the plate and submerges it in a large tray of nitric acid. The acid eats away the artist's lines, or image, which is where the ground has been removed. The remaining wax protects the areas where the ground remains. The longer the plate is in the acid, the deeper and wider the lines become. An eagle feather may be gently stroked across the plate to remove oxygen bubbles. Most artists will judge if the lines have become wide enough by not only examining the plate, but also feeling the lines with their fingers. When he is satisfied, the plate is removed from the acid, the ground is removed with turpentine, and a print,(an artist's proof), is made. The artist, if he approves of the result, then prints as many etchings as he wishes. If he is not satisfied with the result, he may cover the plate with ground again and deepen the image with his etching needle or add more detail, then put it into the acid again. Several artist's proofs may have to be made and they all get the notation in pencil at the bottom, "AP" or, in French, "EA". Because the lines are wider and deeper than with dry point etchings, it's possible to print more etchings this way, before the plate breaks down.
Whistler printed his own etchings, and because of the time and physical work required, his editions were small, often around 25 prints. Most ethical artists today print editions of 100-300. When editions are much larger, it may mean that the artist is very commercial. Artists who are especially prolific may create the etched plate themselves, then turn the printing, the manual labor, over to someone who specializes in doing it.
Friday, September 24, 2010
Antique Japanese Woodcuts
MUSEUM SHOP, LTD. is currently having a show of original Japanese woodcuts, most from the Edo Period (1600-1868). Featured are woodblock prints (ukiyo-e) by the Masters: Ando Hiroshige, Hiroshige II, Kawase Hasui, Hiroshi Yoshida, Tokoriki, Sharaku, Haranobu, and other important Japanese artists. Some depict scenes of the vibrant, plebian life of Old Japan; some are scenes of fierce warriors; some are lovely landscapes of Mount Fuji; some show actors; castles; and some show beautiful courtesans. Much of this art was created to please the Shoguns, but much of it was made for the common Japanese people as well.
The Edo Period was a time of social and political unrest. It was a time of great austerity, when there were censors who dictated which colors could be used, and every finished print had to bear a censor's seal of approval. Artists combined elements from both Japanese and Chinese art to form their own art movement. Students would study for years with their masters, often eventually adopting their names. Many of these prints survived only because they were sewn into books. Many of the woodblocks in this country today were brought here by American soldiers returning home from Japan after WWII.
Wednesday, June 2, 2010
How do you tell if your prints on paper have rag board?
You may remember that we've discussed rag board before. It is acid-free and must be used in the preservation of prints on paper and documents.
It is the acid in regular paper mats that causes prints to evenly discolor all over, get brown spots, (foxing) as if someone had taken a cigarette and randomly burned the print, and become brittle. Regular mats are made of wood pulp, full of acid, as are most paper products. Rag mats, however, are made of cotton, (hence "rag") which is acid-free. Think of fine stationery, such as Crane brand; you may know that it is 100% cotton.
How do you tell if your art, family documents, etc. have rag board? It's simple! Look at the beveled edges of the matting. If they are browning, they are regular mat boards and your art needs immediate attention. If the edges are white or off-white, they're rag mats.
Remember, too, that no art should be right up against the glass, as this traps moisture and tiny fungi will start to grow and get progressively worse. So, if your art has no mats at all, you need to take it to a good picture framer and re-frame it.
It is the acid in regular paper mats that causes prints to evenly discolor all over, get brown spots, (foxing) as if someone had taken a cigarette and randomly burned the print, and become brittle. Regular mats are made of wood pulp, full of acid, as are most paper products. Rag mats, however, are made of cotton, (hence "rag") which is acid-free. Think of fine stationery, such as Crane brand; you may know that it is 100% cotton.
How do you tell if your art, family documents, etc. have rag board? It's simple! Look at the beveled edges of the matting. If they are browning, they are regular mat boards and your art needs immediate attention. If the edges are white or off-white, they're rag mats.
Remember, too, that no art should be right up against the glass, as this traps moisture and tiny fungi will start to grow and get progressively worse. So, if your art has no mats at all, you need to take it to a good picture framer and re-frame it.
Monday, May 10, 2010
Is It Worth It?
Frequently, when people bring us old family paintings they're considering having us restore, they ask, "How much is the painting worth"?
The answer is that it's worth whatever you think it is. There's monetary value and there's sentimental value. Work by a known artist probably has some monetary value; we can look up past sales of that artist's work by checking auction sales, which gives a pretty good idea of the monetary value of the piece.
Keep in mind that virtually everything in museum collections today started off in someone's home. Your painting may have been done years before you were born and, with proper care, should be here for years after your lifetime. At this time, though, you are the keeper, or guardian, of the painting and you are responsible for caring for it.
What we, at the Museum Shop, Ltd. feel, though, is that sentimental value is most important. When our daughter was 2-5 years old, her artwork was always absolutely delightful. We recognized that, as she grew older, her work would become more realistic, but would lose some of its charm. We would never be able to get more of her "happy" art. So we framed several of her paintings just the way we would frame artwork by a world-known artist, to preserve and protect them. They're invaluable and irreplaceable, and we still consider them to be the most important art in our home. They still look exactly as they did when they were created 30-35 years ago; we're happy we spent the money to have them framed properly.
The same goes for paintings that hung in your parents' home when you were growing up, or for old, fading family photographs. Don't those mean more to you than any other pictures, and weren't they treasured by your parents? If you don't take care of them, who will? Wouldn't you love, someday, to see them hanging in your grown children's homes? It's your responsibility to take care of them now, before they suffer irreparable damage.
The answer is that it's worth whatever you think it is. There's monetary value and there's sentimental value. Work by a known artist probably has some monetary value; we can look up past sales of that artist's work by checking auction sales, which gives a pretty good idea of the monetary value of the piece.
Keep in mind that virtually everything in museum collections today started off in someone's home. Your painting may have been done years before you were born and, with proper care, should be here for years after your lifetime. At this time, though, you are the keeper, or guardian, of the painting and you are responsible for caring for it.
What we, at the Museum Shop, Ltd. feel, though, is that sentimental value is most important. When our daughter was 2-5 years old, her artwork was always absolutely delightful. We recognized that, as she grew older, her work would become more realistic, but would lose some of its charm. We would never be able to get more of her "happy" art. So we framed several of her paintings just the way we would frame artwork by a world-known artist, to preserve and protect them. They're invaluable and irreplaceable, and we still consider them to be the most important art in our home. They still look exactly as they did when they were created 30-35 years ago; we're happy we spent the money to have them framed properly.
The same goes for paintings that hung in your parents' home when you were growing up, or for old, fading family photographs. Don't those mean more to you than any other pictures, and weren't they treasured by your parents? If you don't take care of them, who will? Wouldn't you love, someday, to see them hanging in your grown children's homes? It's your responsibility to take care of them now, before they suffer irreparable damage.
Thursday, April 29, 2010
PAPER RESTORATION
PAPER RESTORATION is half art, half chemistry, and there are very few paper conservators (compared to oil painting conservators) because paper is so delicate.
The most common damage to paper is brown spots (foxing) and browned paper that has become brittle. All of this damage is caused either because the art/document was written/printed on acidic paper or because the mat boards, backing boards, etc. that came in contact with the paper contained acid. The value of any print or document is reduced by such damage.
There are two parts of paper restoration: one is removing or neutralizing the acid in the paper; the other is lightening the paper and perhaps foxing, which are purely cosmetic. Both involve using special chemicals, sometimes completely submerging the paper. (Again, this is why there are so few paper conservators.)
Although we can lighten the discoloration with a special bleaching process, this lightens the paper evenly, all over. It may lighten the inks on the paper, too; so usually we do not bleach a piece.
During our recent restoration of a document signed by Abraham Lincoln, we first had to relax the paper, which had been very tightly rolled for many years. This took two weeks of very delicate work, but eventually the paper flattened. We deacidified the document, leaving it a neutral PH.
Folds are actually tears in the paper fibers. We spent a great deal of time mending the tears (some are no longer visible, all are much less obvious), as well as reinforcing the torn and brittle edges all around the paper. The procedure is virtually identical for original art on paper (etchings, lithographs, engravings, serigraphs, woodcuts), except we're much more likely not to bleach the print, as many inks and paints are unstable.
Please don't hesitate to e-mail us with any questions you might have!
The most common damage to paper is brown spots (foxing) and browned paper that has become brittle. All of this damage is caused either because the art/document was written/printed on acidic paper or because the mat boards, backing boards, etc. that came in contact with the paper contained acid. The value of any print or document is reduced by such damage.
There are two parts of paper restoration: one is removing or neutralizing the acid in the paper; the other is lightening the paper and perhaps foxing, which are purely cosmetic. Both involve using special chemicals, sometimes completely submerging the paper. (Again, this is why there are so few paper conservators.)
Although we can lighten the discoloration with a special bleaching process, this lightens the paper evenly, all over. It may lighten the inks on the paper, too; so usually we do not bleach a piece.
During our recent restoration of a document signed by Abraham Lincoln, we first had to relax the paper, which had been very tightly rolled for many years. This took two weeks of very delicate work, but eventually the paper flattened. We deacidified the document, leaving it a neutral PH.
Folds are actually tears in the paper fibers. We spent a great deal of time mending the tears (some are no longer visible, all are much less obvious), as well as reinforcing the torn and brittle edges all around the paper. The procedure is virtually identical for original art on paper (etchings, lithographs, engravings, serigraphs, woodcuts), except we're much more likely not to bleach the print, as many inks and paints are unstable.
Please don't hesitate to e-mail us with any questions you might have!
Friday, April 23, 2010
How to care for art and documents on paper
We've all seen art and documents on paper that are discolored and have brown spots, as if someone had held up a cigarette to the paper. The paper is brittle, especially around the edges. All of this damage decreases the value, as well as the beauty, of the item. All this damage is caused by the acids in normal paper products, which literaly burn the paper (acid burn-in)...and all of it could have been prevented!
Here at the MUSEUM SHOP, we would rather prevent damage in the first place than restore a piece already damaged. Art and documents on paper need special handling. 100% acid free matting ("rag" board) must be used under, and on top of, the art or document, so that everything that touches the art is acid-free. The art must not be right against glass; it could become bonded to the glass. (How many of us have tried to take an old family photo out of its frame but find that the photo is bonded to the glass?) The art or document must be separated from the glass by a mat, liner, or second frame. Ultraviolet (UV) glass must be used to filter out the sun's harmful ultraviolet rays. When an item on paper has been properly framed, it should need no more attention...ever!
Here at the MUSEUM SHOP, we would rather prevent damage in the first place than restore a piece already damaged. Art and documents on paper need special handling. 100% acid free matting ("rag" board) must be used under, and on top of, the art or document, so that everything that touches the art is acid-free. The art must not be right against glass; it could become bonded to the glass. (How many of us have tried to take an old family photo out of its frame but find that the photo is bonded to the glass?) The art or document must be separated from the glass by a mat, liner, or second frame. Ultraviolet (UV) glass must be used to filter out the sun's harmful ultraviolet rays. When an item on paper has been properly framed, it should need no more attention...ever!
Thursday, April 15, 2010
Oil paintings
Most people know how an oil painting is done, but they usually don't know that every oil painting needs a clear sealer to protect it from moisture, dirt, cigarette smoke, etc. Without a sealer, those things penetrate the oil paint itself can can cause damage. If a painting was sealed more than 5-10 years ago, it should be examined closely. Over time, sealers can develop cracks, which, again, allow these contaminates to reach the paint itself. It's also common for sealers to turn yellow and even light brown over the years; in this case, assuming there's been no other damage, we'd simply give the painting a quick cleaning (to remove surfact dirt) and reseal it, processes which are relatively inexpensive and should be considered normal maintenance. Copyright Vicky Kornemann, 2010
Saturday, April 10, 2010
Restoration of woman in red dress, ca. 1800's
Restoration of a oil painting from the 1800s: The canvas was deteriorating and needed to be lined with Belgian linen. The beeswax and resin lining stabilized the paint from flaking off the canvas. New stretcher bars were made and the painting was restretched. The painting was cleaned to remove the old varnish. The oil was retouched with a special paint and the painting was sealed with varnish. Photographs were taken before, during, and after. The restoration was a success!
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