Botanicals – Part 2

18th Century intaglio prints were compromised due to glue and tape, which has a double negative affect on artwork. First, on the macro level: the physical removal of the glue and tape will involve some loss of the original work. Second, the micro level: non-archival tape and glue will deteriorate artwork at the chemical level. Glue and tape, and the acidic compounds they are made of, have a notorious reputation for “eating” at fibers in paperworks.

Conservation entailed grafting new paper, that was compositional consistent with the original, with an archival adhesive known as rice glue. The grafted paper is then given time to dry and set, level to the artwork, by the placement of weights.

Use of non-archival materials is a common problem seen by Miller Fenwood. The cause, of which,  they suspect could be naivety and a general unawareness for the depth and complexity of good, archival materials that are, for the most part, not mainstream. A simple search on the internet is a good step forward. And, for those particularly interested in this subject, they have some simple advice that will steer you in the right direction: the quick, easy, cheap, and readily available materials, will  likely have longterm consequences. This is no different than what a doctor would say to you about health, or what an advisor would say to you about finances.

Stay tuned for more…

 

Framing Meets Interior Design

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For this group of artwork, Miller Fenwood, and client, decided to use a single type of frame; this technique can surprisingly yield many options, like creating a motif throughout a room, floor, or household, as well as playfully “breaking” that motif. Establishing a pattern for interior design, and then “breaking” it in unexpected ways, is the same leap taken by artists realizing their work. Have fun. Enjoy.

 

Suggested reading:

Grouping Art Like A Pro

Design elements and principles

Color theory

Feng shui

Defenders of the Eucharist

This painting is a copy of a composition by the Flemish master Peter Paul Rubens in 1625. The original composition is said to have been greatly admired, and as a result was copied numerous times by students and followers.

This painting was done on a copper plate. When it came to Miller Fenwood there were several dents, which, with delicate applications of heat and pressure, were smoothed out. The frame, actually two parts, needed gesso in several places; and then Miller Fenwood fixed the insufficient way the two parts joined together.

This painting is on display at the Kruizenga Art Museum, a gift of David Kamansky and Gerald Wheaton, 2014.23.214

 

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Come visit us at our new studio at 196 West 29th Suite B Holland, Michigan. We’re a high quality restoration studio providing services for artwork, furniture, and other treasured objects. We also produce museum-quality custom frames. Please call us for an appointment.

Member American Institute for Conservation of Historic and Artistic Works.