The self-portrait by Alfred Juergens (1866 – 1934) has deep and severe damage, and is extremely dirty. Due to its age and its extreme dry condition, extensive instances of cupping and craquelures have appeared.
We have removed the painting from its stretcher bar and vacuumed the reverse and removed the adhesive patches. Initial tests have been carried out on the front to determine how stubborn the old varnish is.
After careful cleaning, the painting will be re-lined to improve its foundation and allow us to consolidate the cupping and craquelures. Once it’s re-stretched we will in-paint where necessary. Stay tuned for more.
Alfred Juergens was born in Chicago on August 5th, 1866. Juergens studied at the Chicago Academy of Design, and also abroad at the Munich Royal Academy under Kochler, as and was also a pupil of Wilhelm von Diez.
At this time, Juergens was focused on mural decorations, and he became a member of several noteworthy organizations: Munich Artists Association, Artists Association of Germany, and the International Society of Fine Arts. His works were awarded silver medals at Madrid and Munich, and a bronze at the Panama Pacific Exposition of 1915.
Juergens transitioned subject matter from religious scenes to flowers and tranquil genre scenes. The Art Institute of Chicago and the National Academy of Design exhibited many of his works.
This painting from the Civil War period proved to be one of the trickier paintings to remove from its stretcher. Besides the more obvious time-related effects: loss of hydration, degradation of paint film, destabilization of canvas, degradation of the stretcher bar wood–time has also seen the advancement in how paintings are attached to stretcher bars, and as a result this painting had a few tough corners. Some delicate scalpel work and finessing with fingers and one of our newer restoration agents helped to get this painting off while maintaining as much canvas integrity as possible. Stay tuned fore more…
This authenticated Beatles signature was written on a ticket stub for a show in Liverpool. The accompanying photograph is of The Beatles first appearance on the Ed Sullivan show, which took place on February 9, 1964. The photograph and signatures had stains and tape residue that were removed and cleaned, and further chemistry baths neutralized the acids. A new frame with archival double-mats and UV-filtering glass was given to keep this treasured memorabilia ready to last for as long as Strawberry Fields do.
The Ed Sullivan show was part of The Beatles’ Winter 1964 US Tour. A record-breaking 73 million viewers watched the event. The set list included:
All My Loving
Till There Was You (Meredith Wilson cover)
She Loves You
I Saw Her Standing There
I Want to Hold Your Hand
At the time of the show, “I Want to Hold Your Hand” was the first Beatles’ record to top both the UK and US charts. Partly due to the Ed Sullivan Show publicity, the single staid on top for seven weeks, which made it the longest-running No.1 for their career at that time, and would later be surpassed by “Hey Jude.”
These Japanese woodcuts came in with acid stains and multiples types of adhesive. Each type of adhesive required a slightly different approach to remove it carefully. Chemistry baths neutralized and lifted the acid stains. These two woodcuts even got the chance to spend a little bath time with a Wayne Cooper print.