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.

This painting came in with a dry canvas which we re-lined with archival linen to improve the foundational strength. Careful cleaning removed surface contaminates and white splatter marks, and conservation varnish finished the restoration.

The original frame suffered from many areas of loss and broken composition. It was carefully cleaning and re-gilt where necessary with new silver, and a back-up given to allow proper spacing for the stretcher bar.

In the restored version it’s so nice to see how the cleaning revealed the tones of the sky with more clarity and contrast, and how the pink tones are much more impactful, not to mention the reflections in the water. And the frame has been elevated to something that now compliments the artwork. This restoration exemplifies the kind of transformation that is possible even without really adding anything.

Before and After.

This painting suffered a few small tears and a dry canvas with dirt particulates over the surface and reverse. After de-fitting it was carefully cleaned on the front and reverse and then re-lined with Pe-cap to increase the foundational strength. In-fill and in-painting concealed the holes and matched the colors to the originals.

A new custom hand carved frame was prepared in the American Cove style with lamb’s tongue carvings, a black liner, 22 karat gold, and an archival fit.