It started innocently enough back in 2019. A pair of cows from the brush of Whitney.
Some time later, a few more passersby strolled in.
Then the word really got out and a whole bunch of them came in. This time from the brush of William Watson.
In August of 2021, these cows, farmer-led, found our doors open, too.
And then just the other day these cows came in, and judging by the amount of dirt contaminates on the surface, the journey must have been a long one.
As you can see we’ve got our work cut out for us, but we’ll keep mooooving along. Stay tuned for more (spoilers: the cows make it out okay)…
This wooden bird sculpture had detached at one leg and at the belly where it connected to the branch. There was also a small break on one of the tail feathers.
Using wooden pegs the bird was reattached to the branch and then in-painted to conceal this area. A restorer’s adhesive reattached the leg as well as the chip on the tail feather. This lovely bird has since migrated back home.
This portrait by Salvatore Postiglione (1861-1906) was brought in to the studio. It suffers from dry canvas, a couple areas of loss, and some smoke damage. The painting will be carefully cleaned and then adhered to new archival linen and in-painted where necessary with conservation varnish to finish. Stay tuned for more…
Salvatore Postiglione was from Naples, Italy and was the son of painter Luigi Postiglione and brother of the artist Luca Postiglione. His father provided the beginnings of his artistic eduction which was honed later at the Art Academy of Modena under Morelli.
In 1902 he became a professor of the Academy of Modena, and his paintings can be found nowadays in museums in Rome, Naples and Triest, and he frescoed the hall of the Palazzo della Borsa of Naples, and of Castello Miramare in Trieste.
This early period (1935) painting by Werner Koepf is part of the artist’s estate collection that we are in the process of restoring and creating frames for. The Junction came in with an extremely thin and dry canvas, and within the paint surface cracking and scuffs.
The painting was de-fit and carefully cleaned and then in-painted where necessary. A new custom and handmade American Slope frame was prepared with white gilding.
Werner Koepf was born in Neckarsulum, Baden-Württemberg, Germany and emigrated with his parents and brother to the United States in 1929. During the Great Depression he worked as a house painter. In 1937 his work was prominently mentioned in the New York Times’ review of The Society of Independent Artists 19th Annual Exhibition. With his talent he gained many connections in the art world: Morris Kantor, a trustee of Contemporary Arts arranged three scholarships for Koepf at the Art Students League from 1937-1939, and Daniel Catton Rich, the Director of Fine Arts at the Art Institute of Chicago paved the way for his inclusion in the Institute’s 52nd Annual Exhibition of American Paintings and Sculpture in 1941.
Koepf served in the US Army during World War II. Starting as a translator, between 1942-1945, he was then transferred to the European Theater where he served with the 496th Heavy Automotive Ordnance Company. In November 1945, he returned to the United States and settled in Derby, Connecticut.
In 1952 he was accepted into Yale University where he was awarded the prize for outstanding achievement in the School of Fine Arts for 1952-1953 by Josef Albers. Maintaining his European contacts, Koepf showed numerous paintings, including one man shows in Paris, Stockholm, and Bremen.
Werner Koepf died at his home in March of 1992.