Jean-Baptiste-Camille Corot Landscape

This landscape by Jean-Baptiste-Camille Corot (1796-1875) has dirt particulates across the surface. Early cleaning tests indicate that it is primarily a kind of coal or soot contaminate. But the remarkable thing is that the painting was not executed on canvas, but rather on silk. The surface is smooth and sublime, and will be a joy to work on; and aside from the surface contaminates the artwork is in rather good shape considering its age. The frame has damage to one of its corner on the underside. Stay tuned fore more…

The son of a Parisian shopkeeper, the young Corot was hired as a salesman by a cloth merchant, despite his evident gift for drawing.  Clearly lacking an aptitude for business, he was already twenty-six when his father gave him an allowance so that he could devote himself entirely to his vocation.

Studying with A. Michallon, with whom he painted his first landscapes in the Forest of Fontainebleau, and then with Victor Bertin, he took his first trip to Italy in 1825.  There he enjoyed the friendship of Caruelle d’Aligny and Edouard Bertin who shared his passion for painting from nature.  On his return three years later, he adopted a pattern of work, which he maintained throughout his life, of painting in his Paris studio during the winter and devoting the summer to traveling in France, interrupted by frequent visits to Ville d’Avray, Chailly and Barbizon.

From spring to autumn, he lived with his parents at Ville d’Avray.  He worked in the mornings and evenings, capturing the light and atmosphere of his favorite times of day.  He was an extremely kind and generous man much loved by his fellow artists, whom he was always ready to help with money and advice.

During his long career he became one of the most celebrated artists of his generation and exerted tremendous influence on the painters of the Impressionist movement.  He was awarded numerous medals and the coveted Legion of Honor in 1846.  Acknowledged as the world’s foremost landscape painter, fame did not spoil the simplicity of his character.  His work can be found in important public collections around the world.

C.C. Moll Windmill Painting Finished with Louis XIII Frame.

After de-fitting and discovering the surprise of the bottom-left corner, where the canvas had been folded many times and rudimentarily packaged together by what looked like the work of an upholster, we were able to get the painting re-lined. Due to how thin and fragile the canvas was we decided to re-line it twice: first with a layer of Pe-Cap and then with a layer of archival linen. Hydration was administered where needed to treat the craquelures and in-painting helped conceal the craquelures and address the bottom-left corner where some paint loss had occurred. The original varnish was quite glossy and reflected lights very strongly. It was replaced with an archival varnish that we applied with several coats carefully coaxing them into the paint surface to once again help address the craquelures.

A new custom and hand carved Louis XIII frame was created and gilded with metal leaf. An archival fit brought the frame and painting together. Part One of this blog can be found HERE.

Mick Jagger 138 by Wandy Warhol in Custom American Vinyl Frame

This is one of the 10 Warhol prints of Mick Jagger that were done in 1975. Warhol and Jagger had met in 1964 at a party in New York during the Rolling Stones’ first US tour at a time when both parties were beginning their rise to fame. They would go on to become close friends and to collaborate several times during their careers, including the Rolling Stones cover for Sticky Fingers that Warhol designed.

This print is known as Mick Jagger 138 and had unfortunately not been archivally hinged. Due to this, there were 16 places were acids had migrated from cardboard fillets and affected the internals of the framing. The frame was also not sealed, and over time air-borne contaminates had made their way inside.

After a careful de-fit the print was dipped in chemistry solutions to neutralize the acid contaminants and then dried flat with blotters. Archival hinging techniques and materials then placed the print in a our new, custom American Vinyl Frame that swapped the original frames silver color for a more arresting black that accentuated Jagger’s eyes and hair. To top off the framing, an 8-ply white rag with foam core and museum glass and an extra deep fillet were going. We’re very glad to get Jagger back into rockin’ shape.

Louis XIII and Modernist Frame

A pair of custom hand-carved frames were prepared for a client. The first was done in the Louis XIII style with hand-carved corners and 23 karat gilding. The second was done in a Modernist style and also gilt with 23 karat gold. Together these frames show a diverse aesthetic palette while containing some of the same elements. This is the beauty of frame-making: subtle changes finely-tuned by hand to maximize the presence of the painting.