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Welcome to the third edition of the victorian-paintings.com newsletter, I hope you find it informative and useful. We've changed the running order slightly this time round, starting with the News and Features, followed by the Site Updates section, and because we have a longer than usual feature in this issue about painting conservation, I've decided to leave the "How To" section till next issue.
Don't forget, if you know someone else who likes Victorian
Art, please take a moment to forward this newsletter to him
or her.
Danny Wettreich
dw@victorian-paintings.com
News: Sotheby's Under Fire; Victorian Paintings Getting Scarce
It has been a surprising few months in the art world in particular with the two giants of the industry Sotheby's and Christies under heavy fire. Many Art collectors in Britain and the rest of Europe are expected to follow the lead of American buyers who have filed class A lawsuits against the world's two leading auction houses following accusations of price-fixing of commissions. Jeffrey Klafter, one of the lawyers in a class-action suit in New York, said he expected litigation against Sotheby's and Christie's to extend to Europe in the coming weeks as the result of a criminal anti-trust investigation in the United States that has rocked the art world. The two auction houses are the targets of a federal grand jury investigation in New York into possible collusion in setting the levels of commissions as far back as 1992 (I do not think that Sotheby's or Christies have helped themselves by increasing their commission rates to buyers at live auctions!)
Personally I feel that Sotheby's and Christies will have a bit of catching up to do in order to win back the trust of bidders. Sotheby's have also received a lukewarm reception to their auction site, which has had its fair share of technical problems. It will be interesting to see how this story develops, and I will return to this topic in future editions.
Recent auctions seem to show a trend of fewer quality paintings being offered for sale, which indicates an increasing scarcity of Victorian oils. I believe that collectors are holding on to their pictures as they represent a combination of pleasure and investment that is hard to replace. This trend, if continued, will result in an increase in prices due to limited supply. That's exciting if you own these paintings!
Feature: Conserving Your Paintings
This feature is adapted from a brochure provided by the American Institute for Conservation of Historic and Artistic Works (AIC). See end of article for contact information.
Paintings may be objects of great beauty or of historical importance, providing an important cultural link with the past. They may have great monetary value or have sentimental value to their owners. Whatever the case, paintings are fragile creations that require special care to assure their continued preservation.
Paintings change over time. Some inevitable results of aging, such as increased transparency of oil paint or the appearance of certain types of cracks, do not threaten the stability of a painting and may not always be considered damage. One of the most common signs of age is a darkened or yellowed surface caused by accumulated grime or discoloured varnish. When a varnish becomes so discoloured that it obscures the artist's intended colours and the balance of lights and darks, it usually can be removed by a conservator, but some evidence of aging is to be expected and should be accepted. However, when structural damages occur in a painting such as tears, flaking paint, cracks with lifting edges, or mould, consult a conservator to decide on a future course of treatment for your painting.
Maintaining A Suitable Environment
It is important to maintain a proper environment for your paintings. The structural components of a painting expand and contract in different ways as the surrounding temperature and humidity fluctuate. For example, the flexible canvas may become slack or taut in a changing environment, while the more brittle paint may crack, curl, or loosen its attachment to the underlying layers. If a painting could be maintained in an optimum environment, in one location at a constant temperature and humidity level, many of the problems requiring the services of a paintings conservator could be prevented. Paintings generally do well in environmental conditions that are comfortable for people, with relative humidity levels between 40 and 60 percent. Environmental guidelines have been developed for different types of materials. Paintings on canvas may react more quickly to rising and falling humidity levels than paintings on wood panels, but the dimensional changes that can occur in a wood panel can cause more structural damage. Owners of panel paintings should be particularly conscientious about avoiding unusually low or high relative humidity and temperatures to prevent warping, splitting, or breaking of the wood. Museums strive to maintain constant temperature and humidity levels for works of art, but even with expensive environmental control systems this task can be difficult. In most cases, gradual seasonal changes and small fluctuations are less harmful than large environmental fluctuations. Avoiding large fluctuations is very important. For example, a painting stored in what would generally be considered poor conditions (such as a cold, damp castle in England) may remain structurally secure for centuries, but begin to deteriorate rapidly if moved into "stable" museum conditions simply because of the extreme change in its environment.
One of the simplest and most important preservation steps you can take is have protective backing board attached to paintings. A Fome-Cor (or archival cardboard backing) screwed to the reverse of a painting will slow environmental exchange through a canvas, keep out dust and foreign objects, and protect against damage during handling. Be sure that the backing board covers the entire back of the picture; do not leave air vent holes, which can cause localized environmental conditions and lead to cracks in paint. The backing board should be attached to the reverse of the stretcher or strainer, not to the frame. Have a conservator or reputable framer attach it for you.
Displaying Paintings
The display of paintings requires careful consideration. Direct sunlight can cause fading of certain pigments, increased yellowing of varnish, and excessive heat on the painting surface. It is best to exhibit paintings on dividing walls within a building rather than on perimeter walls where temperature fluctuations will be greater and condensation can occur. If paintings are placed on uninsulated exterior walls, it may help to place small rubber spacers on the back of the frame to increase air circulation.
Although a fireplace is often a focal spot for a room, a painting displayed above a mantel will be exposed to soot, heat, and environmental extremes. Hanging paintings above heating and air conditioning vents or in bathrooms with tubs or showers is also inadvisable because the rapid environmental fluctuations will be harmful. Select a safe place away from high traffic and seating areas.
When lighting paintings, use indirect lighting. Lights that attach to the top of the frame and hang over the picture can be dangerous. These lights cast a harsh glare, illuminate and heat the painting unevenly, and can fall into the artwork causing burns or tears. Indirect sunlight, recessed lighting, or ceiling-mounted spotlights are best for home installations. Halogen lamps are increasingly popular, but halogen bulbs emit high levels of ultraviolet light (the part of the spectrum that is damaging to artworks) and should be fitted with an ultraviolet filter when used near light-sensitive materials. These bulbs also have been known to explode and may pose a fire hazard. Tungsten lamps may be preferable for home lighting.
Handling Procedures
Pictures are usually safest when hanging on a wall, provided that they are well framed, with the picture and hanging hardware adequately secured. If you must store a painting, avoid damp basements or garages, where pictures can mould, and attics, which are very hot in the summer. A good storage method is to place the paintings in a closet with a stiff board protecting the image side of each artwork and a backing board attached to the reverse. Here again, a backing board attached to the reverse can protect your painting.
Do not risk damaging your paintings by moving them any more than is absolutely necessary. If you must remove a painting from the wall or move it to another room, clear the pathway of furniture and obstructions and prepare a location to receive it. The frame must be stable and secure. If it is old or there is glazing (glass), ensure that it can withstand being moved. Determine if you can lift the painting safely by yourself. If the frame is massive or the picture is wider than your shoulders, ask someone to help you. If the painting is of a manageable size, lift the frame with both hands by placing one hand in the centre of each side. Always carry it with the image side facing you. Remove jewellery, tie clips, belt buckles, or other clothing that might scrape the surface. Hang paintings from picture hooks (not nails) placed securely in the wall; a heavy picture requires two hooks. Before hanging, examine the back of the painting to ensure that the hanging hardware is strong and secure. If the painting is framed, the hardware should be attached to the back of the frame, not to the stretcher or strainer. If picture wire is used, attach a double strand of braided wire to the sides of the frame (not to the top edge) with "D" rings or mirror plate hangers. These types of hangers are secured to the wooden frame with two to four screws. Moving and hanging unframed or large paintings safely may require the services of professional art handlers, who may be reached by calling a local museum, historical society, or reputable art gallery.
Housekeeping Guidelines
After carefully examining your paintings for loose or flaking paint, dust them every four to six months. Feather dusters can scratch paintings. Instead use soft, white-bristle Japanese brushes, sable (such as a typical makeup brush), or badger-hair brushes (called "blenders" and used for faux finishes). Never try to clean a painting yourself or use any liquid or commercial cleaners on a painted surface. Commercial preparations can cause irreparable damage to the fragile layers of a painting. Avoid using pesticides, foggers, air fresheners, or furniture sprays near artworks. Remove paintings from a room before painting, plastering, or steam cleaning carpets or wallpaper. Return the artworks only when the walls and floors are completely dry.
Disasters And Other Problems
If a disaster such as a flood or fire occurs in your home, remove paintings from standing water or debris. If the paint is flaking, lay the painting flat with the image side up to limit paint loss. Consult a professional conservator as soon as possible for assistance in limiting damage to your artwork. Wiping smoke, mud, or other contaminants from a painting may result in additional damage. An information packet on disaster recovery is available from the American Institute for Conservation.
Other problems will require the help of a professional conservator. Insect infestation, flaking paint, paint loss, torn canvas, cracks with lifting edges or planar distortions (wrinkles or draws in the canvas), mould growth, grime, or very discoloured varnish are problems that only a professional conservator is trained to address.
Resources
Schultz, Arthur W., ed. Caring for Your Collections. New York: Harry N. Abrams, Inc. 1992.
Stout, George L. The Care of Pictures. New York: Dover Publications, 1975.
For more information, contact:
American Institute for Conservation of Historic and Artistic Works (AIC)
1717 K St., NW, Ste. 200
Washington, DC 20006
Telephone: (202) 452-9545
Facsimile: (202) 452-9328
E-mail: info@aic-faic.org
Orignal brochure prepared by Jill Whitten with assistance from Carol Christensen and Mark E. van Gelder.
Site Updates
We have been busy adding new and exciting features to the site and in particular are pleased to announce the Renowned Artists section. This service relates to paintings by highly distinguished artists whose works are considered to be amongst the best of the period. These are rare and valuable paintings and we decided that they deserve a special section on the site. Collectors who wish to view these paintings and get more information (including prices) will be asked to submit a special form for serious enquiries.
We have added the following paintings to the gallery:
Tranquility Farmyard
Oil on canvas 16 by 24 inches (40.6 by 61 cm)
John Frederick Herring, Jr.
$48,000
A typical farmyard painting by this highly sought after artist. Herring Jr. consistently depicted animals in working farm settings in a very distinctive style, which is easily recognised and much admired.
Fruits And Chrysanthemums
Oil on canvas 20 by 24 inches (51 by 61 cm)
Emily Stannard
$28,000
A high quality still life by a very respected artist, this painting makes use of very vibrant colours to create a strong impact.
Sisterly Advice
Oil on canvas 36 by 28 inches (91 by 71 cm)
William Oliver
$35,000
A good example of this London painter of genre and figurative subjects, mainly half length figures of girls. Oliver exhibited 15 works at the Royal Academy, including " A thing of Joy is a Joy forever" and "A love test".
The Old Mill
Oil on board 19ins by 24 inches (48 by 61 cm)
Thomas Creswick
$25,000
A very detailed painting showing off the realist style of the artist, who exhibited over 266 works at the Royal Academy, the British Institute and elsewhere. This is our featured painting for April.
Burnham Woods
Oil on canvas 24 by 36 inches (61 by 91cm)
William Luker
$25,000
These woods are full of concealed wildlife, and the painting captures beautifully this idealistic setting.
View them all at:
http://www.victorian-paintings.com/gallery.cfm
This month's featured painting is "The Old Mill" by Thomas Creswick.
Feeback: Your suggestions
Thank you for all the interest and feedback I've had over
the last few months. I've taken note of all your suggestions
and we will be implementing some of them soon. Several
people have suggested that we add a calendar of upcoming
auctions, and many would like more background information
about the artists and the period. Please keep your
suggestions coming.
Happy collecting,
Danny Wettreich
Victorian Art Collector
© Copyright 2000, Danny Wettreich. All rights reserved. If you
found this newsletter interesting or helpful please e-mail
it to a friend or associate and help spread the word about
Victorian Fine Art. Thank you.
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