This painting suffers from an extremely thin linen. This led to a weak foundation for the paint film, and is the reason for the widespread and severe craquelures. Paint loss has also occurred, and is the worst along the edges. At the bottom left corner, we found an unusual surprise. What looks work done by an upholsterer, the canvas was folded several times before being attached to the stretcher bar. This section was challenging to undo, but after a little finessing and prodding with the right tools, we were able to get it clear. We have since re-lined the painting onto new linen to give the foundation support as well as consolidate the craquelures. In-fill has addressed the areas of loss and prepared the surface for in-painting. Stay tuned for more…
This painting came in with an out-of-square stretcher bar and we replaced it with one that can expand and contract, which allows the paint film and canvas to handle subtle atmospheric changes. While transferring it to the new stretcher bar we discovered that the painted edge was also not square. We prepped the canvas along this gap and in-painted to match the original.
This is a large painting, about 66″ x 75,” and presents it self-portrait coup de gras, an arresting gaze, when viewed from a distance. And now that painting is in square the effect is just a little bit better, not to mention a little more archival.
David McGee is an American Postwar & Contemporary artist who was born in 1962. His work was featured in several exhibitions at key galleries and museums, including the Houston Museum of African American Culture (HMAAC) and the Pump Project. David McGee has been featured in articles for the Glasstire. The most recent article was Bayou City Art Virtual Experience Kicks off October 5 written by Christopher Blay for the Glasstire in October 2020.
This Dune painting by Frank Virgil Dudley (1868-1957) suffers from heavy smoke and dirt particulates across the surface. There is some paint loss along the top as well as a crease around the perimeter due to the stress caused by the stretcher bar. Some craquelures have been discovered; and the cleaning process, aside from having a tremendous effect on the color tones, is making the craquelures easier to see, so it is possible that we will find more. This is such a fitting and lovely painting to work on in West Michigan, and during the right season, too. Stay tuned for more…
This painting suffered from several tears and flood damage that held left the paint film dry, brittle, and vulnerable to further damage. Dirt particulates had also spread across the surface. For the frame, the flood damage had detached some of the decorative ornamentation.
The tears were sutured from the reverse and then in-filled and in-painted on the front to conceal them. Also on the reverse, new conservation linen was adhered to increase the foundational strength. Hydration was spot-treated to return pliability and health to the paint film. Careful cleaning lifted the dirt particulates and had a pleasing affect on the color tones, and conversation varnish was used at the end.
For the frame, the loose ornamentation was reattached with a restorer’s adhesive, and careful cleaning removed the dirt particulates.