Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: conservation

Christie’s welcomes this spring’s Art Business Conference on March 30th, 2020

Louise Hamlin
Art Business Conference
New York, London, Hong Kong

Returning to New York in March 2020, The Art Business Conference is a one-day conference for art market professionals.

If you’re involved in buying, selling or caring for fine art or antiques – whether you are a gallery owner, manager, art advisor, auctioneer, private collector or professional advisor, this conference will explore the key issues affecting the international art market today.

Through presentations, Q&As, panel discussions, and workshops, industry experts will share advice and insights on many of the key factors in running an art business or collection – including the the latest updates in legislation and taxation.

Christie’s New York

Enroll now for an informative and productive day:

https://www.eventbrite.co.uk/e/the-art-business-conference-new-york-2020-tickets-90201903321

This year’s topics will include:

  • Private Foundations, the collecting journey, legacy and impacting investing
  • Sustainability – exploring how art organizations can be more sustainable
  • Recruitment – how to find, train and retain the best art world candidates
  • Important updates on AML5 – this is now officially law in the UK & EU (as of Jan 10) and is relevant to any US business with UK or European clients.  This session will present an overview of the law and the guidelines for implementing business practice for your art business.
  • Inside the collector’s head – the neuroscience and behavioral economics of art collecting.
  • Pictures Never Lie? The Use and Misuse of the Latest Imaging Technologies for Examining Paintings.
  • The language of Art & Technology – what are API’s and how are they applicable to the art market?

The roster of speakers is impressive, to say the least, covering a range of timely subjects. To highlight just a few of the speakers, the Art Business Conference New York 2020 features the director of a Foundation in Dubai that brings Western art to the Middle East, an influential collector and gallerist in New York and Los Angeles, a collector and scholar of export porcelain and neurologist who shares her insights on the psychological motivations of the collector, an expert on Art Law and Luxury Assets recognized by the leading legal directories and praised for her “great technical knowledge of the issues”, and an expert in the scientific analysis of fine arts focusing on questions of attribution, authenticity, preservation and provenance.

 

Deborah Najar

DEBORAH NAJAR

Deborah is the Founder of the JPNF (Jean-Paul Najar Foundation), a museum for Contemporary Art located in Dubai’s Alserkal Avenue.  Among the first non-profits in the UAE, the JPNF came about as a partnership with Alserkal Avenue, from a desire to offer a diverse artistic experience, with strong emphasis on patronage, archives and western abstraction. The JPNF is a museum of contemporary art that is home to a collection of European and American abstract art from the 1960s through today. It is also the custodian of a remarkable archive tracing forty years of artist-collector exchanges.

Adam Lindemann

ADAM LINDEMANN

Adam is best known as a taste-maker in collecting and investing in contemporary art and design. He operates Venus Over Manhattan, the influential gallery devoted to iconoclastic exhibitions both historic and contemporary. He has been a featured commentator in several documentaries and interviews relating to collecting and art, including recent features on the BBC, Charlie Rose, and Reuters. He lives and works in New York City.

Shirley Mueller

SHIRLEY MUELLER

Shirley M. Mueller is a collector and scholar of Chinese export porcelain as well as a physician board-certified in Neurology and Psychiatry.  The latter expertise led her to explore her own intentions and emotions while collecting art, which, she discovered, have broader applications.  This new understanding was the motivation for her recent book, Inside the Head of a Collector:  Neuropsychological Forces at Play.

Amanda Gray

AMANDA GRAY

Amanda is a Partner in Mishcon Private at Mishcon de Reya, specialising in Art Law and the related field of Luxury Assets.  She is valued by her clients for her commercial, flexible approach and depth of knowledge across a diverse range of legal problems faced by those operating within the art market and luxury assets fields. Amanda works on both contentious and non-contentious matters including, but not limited to, disputes arising over all due diligence matters (for example title, authenticity, attribution and condition) contractual  disputes and special project work concerning arts and cultural property.

Jennifer Mass

JENNIFER MASS

Jennifer L. Mass is President of Scientific Analysis of Fine Art, LLC (SAFA) and the Andrew W. Mellon Professor of Cultural Heritage Science at Bard Graduate Center. She formed SAFA in 2007 because of a growing need for the objective material assessment of objects in the art market to complement the expertise of the connoisseur and the conservator.  Her work at SAFA allows her to assist art collectors, dealers, auction houses, and private conservation firms in addressing questions of attribution, authenticity, state of preservation, provenance, and mechanisms of degradation.

In the Business Pavilion, you can meet speakers and our exhibitors to continue the discussions and expand your art business network.

Ticket prices include entry to all sessions, breakfast networking, refreshments, lunch and post-conference networking drinks.

See you on March 30th!

Save the Date: The Art Business Conference returns to New York on March 30, 2020

Louise Hamlin
Founder and Director
Art Business Conference
London, New York, Hong Kong

2020 DATE AND NEW VENUE ANNOUNCED FOR THE FOURTH EDITION OF THE ART BUSINESS CONFERENCE IN NEW YORK

THE ART BUSINESS CONFERENCE LAUNCHED IN LONDON IN 2014, IN NEW YORK IN 2017 AND IN SHANGHAI IN NOVEMBER 2018. ENTERING ITS SEVENTH YEAR, ITS MISSION IS SIMPLE: TO BE THE LEADING ANNUAL CONFERENCE FOR ART PROFESSIONALS INCLUDING ART ADVISORS, COLLECTORS, AUCTIONEERS, DEALERS, GALLERIES, INSURERS, SHIPPERS AND LAWYERS, OFFERING IN-DEPTH KNOWLEDGE AND GUIDANCE ON CHANGES WITHIN THE GLOBAL ART MARKET, PLUS THE LATEST UPDATES IN LEGISLATION AND TAXATION.

The Art Business Conference Networking

IN 2019, THE ART BUSINESS CONFERENCE IN NEW YORK WAS ATTENDED BY OVER 250 ART MARKET PROFESSIONALS REPRESENTING OVER 125 ART ORGANIZATIONS FROM THE UK, EUROPE, MIDDLE EAST AND USA. THE LATEST CONFERENCE WAS HELD IN LONDON IN SEPTEMBER 2019 AND WELCOMED JUST UNDER 400 ATTENDEES.  THE LRFA BLOG IS VERY MUCH LOOKING FORWARD TO THE MARCH 30th ART BUSINESS CONFERENCE IN NEW YORK AT A PERFECT LOCATION: CHRISTIE’S FLAGSHIP GALLERIES AT 20 ROCKEFELLER PLAZA (49th STREET BETWEEN 5/6th AVENUES).

https://www.theartbusinessconference.com/nyc/the-event/

 

The one-day conference for art market professionals will comprise a full day of lively panel discussions, informative presentations and Q&A’s, all in the heart of Manhattan.

The leading platform for the discussion of key issues in today’s global art market, the conference will bring together industry experts from all facets of the art world, providing a 360-degree perspective on major developments within the trade and offering delegates the opportunity to establish new contacts in the industry.

Louise Hamlin, founder & director of The Art Business Conference says, “I am delighted that the Art Business Conference will be returning to New York for the fourth year and to be partnering with Christie’s. The conference will be held in Christie’s main salesroom, the James Christie room, which is not only an iconic art world setting, but also an opportunity for us to accommodate a growth in our attendee base from across the US, UK, Europe, Asia and the Middle East. Last year over 250+ art professionals and collectors attended.”

 

IN THE NEXT LRFA BLOG, THE TOPICS AND SPEAKERS WILL BE HIGHLIGHTED. THEY COVER A WIDE RANGE OF SUBJECTS INCLUDING THE NEW ANTI-MONEY LAUNDERING DIRECTIVE, THE SCIENCE AND ECONOMICS OF COLLECTING, SUSTAINABILITY AND THE FINE ART OF RECRUiTMENT, PLUS THE LATEST UPDATES AND TRENDS IN DATA, TECHNOLOGY, AND CONSERVATION SHAPING THE ART MARKET TODAY.

Christie’s New York
Rockefeller Center

SIGN UP NOW! A NOT-TO-BE-MISSED EVENT.

To register please visit: https://artbusinessconferencenewyork2020.eventbrite.co.uk

To register interest for further press enquiries please contact:

Louise Hamlin (Director & Founder)

email: louise@artmarketminds.com

Tel: +44 (0) 7508 231 241

The future of the art market with Dana Prussian, Art Lending Service, Bank of American Private Bank

Dana Prussian
Art Lending Services
Bank of America Private Bank

THE ART BASEL AND UBS GLOBAL MARKET REPORT, AUTHORED BY THE RENOWNED CULTURAL ECONOMIST, DR. CLARE McANDREW, WHO FOUNDED THE RESEARCH CONSULTING FIRM FOCUSED EXCLUSIVELY ON THE ART ECONOMY IN 2005, REPRESENTS THE PINNACLE OF ART MARKET RESEARCH AND ANALYSIS. THE 2019 REPORT PROVIDED 5 KEY INSIGHTS INTO THE ART MARKET PINPOINTING A 6% INCREASE IN GLOBAL ART SALES WORLDWIDE, ACTIVE BUYING BY MILLENNIALS  AND A GROWING PARTICIPATION IN ONLINE SALES AS LEADING INFLUENCES IN THE CURRENT ART MARKET.

HERE ARE THEIR FIGURES:

Art Basel

1. The US retained its position as market leader

In 2018, the US sustained its position as the world’s largest art market, accounting for 44% of sales by value – or a total of $29.9 billion, the highest recorded level to-date. The UK regained its position as the second-largest market at 21%. China was the third largest market at 19%, with sales reaching $12.9 billion – a decline of 3% year-on-year.

2. Millennials emerged as active market participants

“A very positive finding of the research this year was the dynamism in collecting by global millennials.While respondents in the US were predominantly aged 50 and above, in Singapore, 46% of collectors surveyed were millennials, while in Hong Kong the figure was 39%. Collectively, millennials accounted for just under half (45%) of high-end spenders, underlining the importance of this demographic.

3. The online market witnessed continued growth

The online market reached an estimated new high of $6 billion in 2018, representing 9% of global sales – up 11% year-on-year.

4. Auction figures rose 3% year-on-year

While economic and political issues drove risk-averse buyers and sellers towards private sales in the dealer market, sales of fine and decorative art and antiques at public auction still rose in value, reaching $29.1 billion. High-value works had the greatest impact on this sum, accounting for 61% of total sales by value.

5. Art Fairs continued to shape the global market

Art fairs continued to play a central role in the global art market, with aggregate sales estimated to have reached $16.5 billion in 2018 – up 6% year-on-year. The share of the total value of global dealer sales made at art fairs was 46%.

https://www.ubs.com/global/en/our-firm/art/2019/art-basel.html

 

Lee Krasner
Free Space Blue, 1975

AT BANK OF AMERICA PRIVATE BANK, ART LENDING SERVICES, DANA PRUSSIAN, VP, HAS AN INSIDER’S VANTAGE POINT IN TRACKING THE EBB AND FLOW OF THE ART MARKET FROM THE PERSPECTIVE OF THE INDIVIDUAL COLLECTOR, DEALERS, AND ART AND CULTURAL INSTITUTIONS.

https://www.privatebank.bankofamerica.com/solutions/individuals-families/art-services.html

DANA, A WARM WELCOME BACK.

HOW DO YOU SEE THE CURRENT ART MARKET?

Even though total art sales has slowed since 2012, we’re still seeing a strong art market. Low interest rates and stratified wealth creation worldwide continue to drive capital toward art. The art market is ultimately driven by sentiment, so the greatest risk is a major geopolitical event that impedes global capital flow.

John Chamberlain
Chinati Foundation
Marfa, Texas

HOW DO YOU ANTICIPATE THE ARCH OF THE ART MARKET OVER THE NEXT FEW YEARS? DO YOU SEE A RETURN TO THE GALLERY SYSTEM OF THE PAST AND A RESURGENCE OF SMALLER GALLERIES OR FURTHER EXPANSION OF THE “UBER” GALLERIES?

We should keep our eye on how technology changes the landscape (online sales have yet to deliver meaningful scale or margin expansion), art fair fatigue, and new revenue opportunities for the major auction houses. I think the future of the gallery system will be based, in large part, on how a current push-pull resolves itself over the next decade.

The mega galleries, particularly the big 4 featured in Michael Shnayerson’s Boom (Gagosian, Hauser & Wirth, Zwirner, and Pace), are at a critical juncture. They are currently expanding their global footprints-and Chelsea footprints- in a big way. At the same time, the mega dealers who have built these empires are not getting any younger. We will have to see what their succession plans look like. With Pace, the Glimchers will look to next-of-kin, Marc. With Gagosian, Larry could be looking to Andrew Fabricant. It will be interesting to see how it all plays out. 

Evan Robarts
Untitled Tenant, 2015
Bruce Wolkowitz Gallery

DO YOU COLLECT YOURSELF?

Working on it! One of the many things I love about my fiancé, Joel, is that he was interested in art well before I met him in 2015. He owned a mix of prints and lithographs by Miro, Sam Francis, and Dali, all of which we brought with us when we moved into an apartment together. Since then, we have acquired a few pieces together, most recently a massive Evan Robarts Mop Painting from Bryce Wolkowitz Gallery. It’s a wonderfully textural black and white on linoleum from his Super Reliable series.   

Helen Frankenthaler
Mnuchin Gallery: The Art of Marriage

WHO ARE SOME OF THE ARTISTS THAT YOU WISH YOU OWNED?

A Chamberlain crushed steel sculpture is at the top of my list. Before he passed away, I had the chance to see Chamberlain at work in his Shelter Island studio, which is an experience that I will never forget. Of course, we are in the age of identity, so I would love to start a female collection: Grosse, Krasner, Frankenthaler…I would weep with happiness! Also Shantell Martin. I met her this summer at the Parrish Midsummer Party. She’s simply the coolest. 

Shantell Martin
New York City Ballet commission

DANA, THANK YOU SO MUCH! THE LRFA BLOG IS SO APPRECIATIVE OF YOUR INSIGHTS.

BANK OF AMERICA PRIVATE BANK, ART LENDING SERVICES, IS NOT ONLY ATTENTIVE TO THE FINANCIAL ASPECTS OF ACQUIRING, COLLATERALIZING AND DEACCESSIONING ART BUT ALSO TO THE IMPORTANT PLACE THAT CULTURAL AND CONSERVATION PROJECTS ARE IN THE CURRENT ART WORLD.

 

Katharina Grosse
Hamburger Bahnhof – Museum für Gegenwart – Berlin

 

 

The care and conservation of a collection: consult The Clarion List for expert help


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BUYING YOUR FIRST WORK OF ART IS A MEMORABLE EXPERIENCE! BE IT A LITHOGRAPH BY AN ARTIST WHOSE WORK YOU HAVE ALWAYS APPRECIATED IN ITS ORIGINAL FORM IN A MUSEUM COLLECTION, A CONTEMPORARY ASSEMBLAGE BY AN EMERGING ARTIST FROM A LOCAL ART FAIR OR A RECORD-BREAKING SECONDARY MARKET PAINTING FROM AN EVENING AUCTION, THE SELECTION PROCESS AND ULTIMATE CHOICE, SOMETIMES NERVE-WRACKING, IS ONLY THE FIRST OF MANY DECISIONS THAT THE COLLECTOR MUST MAKE AS CUSTODIAN OF A WORK OF ART.

 

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AS SEASONED COLLECTOR KNOW, THE  NEWLY ACQUIRED WORK SHOULD BE INSURED AND DOCUMENTED IN AN INVENTORY MANAGEMENT SYSTEM, ITS CONDITION EXAMINED BY A CONSERVATOR SPECIALIZING IN THE MEDIUM AND PERIOD OF THE WORK, FRAMED APPROPRIATELY TO ENHANCE THE ARTWORK, AND THEN – THE MOST FUN OF ALL  – INSTALLED IN A LOCATION THAT PERFECTLY ENHANCES ITS PRESENCE. THESE ARE JUST SOME OF THE CONSIDERATIONS NECESSARY FOR THE ONGOING CARE OF A COLLECTION.

SPECIFIC WORKS HAVE SPECIFIC NEEDS. FOR EXAMPLE, DAMIEN HIRST’S STUDIO GENERATES A REPORT ON THE CARE AND CONSERVATION OF THE ENTOMOLOGY PAINTINGS. TO INSURE THE CONDITION OF THE BUTTERFLIES, HIRST BUILDS A SPECIAL POCKET INTO THE FRAME OF THE CANVAS FOR AN INHIBITOR (MOTH PROOFING) THAT NEEDS TO BE INSPECTED AND CHANGED OVER A PERIOD OF TIME. “THE PAINTING NEEDS TO BE GIVEN A VISUAL INSPECTION ON A REGULAR BASIS TO ENSURE THAT THE SURFACE OF THE WORK IS IN GOOD CONDITION WITH NO SIGN OF CHANGE.”

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HOW DOES THE COLLECTOR PUT TOGETHER THE BEST POSSIBLE TEAM OF RESPONSIBLE EXPERTS TO SUPPORT THE WORKS OF ART? THANKS TO THE CLARION LIST,  A CURRENT ONLINE DIRECTORY CAN PROVIDE EXPERTS IN EVERY SERVICE CATEGORY, SORTED BY LOCATION! THANKS TO THE INNOVATIVE IDEA AND DEDICATED HARD WORK OF CO-FOUNDERS, JESSICA PAINDIRIS AND GAIA BANOVICH, THE SEARCH IS EASIER AND MORE JUDICIOUS THAN EVER BEFORE. SEE FOR YOURSELF!

https://www.clarionlist.com

practice-safe-collecting-how-to-use-protection-for-your-art-900x450-c

 

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JESSICA, THANKS SO MUCH FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

TO CONTINUE, WHAT ARE THE PRIMARY NEEDS OF COLLECTORS AND HOW DOES THE DIRECTORY ADDRESS THESE?

Collectors are looking for the right company to buy or sell art, service an existing collection, or help grow a collection. We enable them to find do a very narrow search as needed – they can sort by company size (perhaps they want someone with global reach or local focus), years in business (perhaps they want a veteran professional vs. a younger professional who may have lower fees), location (maybe you want to find a storage company in your own neighborhood), and specialty (you want not just an appraiser, but an old master specialist), and a company who has great client ratings. You can “Refine by” all these options on the left hand side of all search results.

WHAT ARE THE PRIMARY NEEDS OF THE ARTIST AND IN WHAT WAYS DOES THE CLARION LIST RESPOND TO THEIR CONCERNS?

Artists are also looking for the right company for them as well and want to expand their options and find better or less expensive companies to work with. Artists tend to be interested in our list of framers, storage companies, marketing firms and law firms among others.

WHAT CRITERIA DOES THE DIRECTORY ESTABLISH FOR PRIVATE ART DEALERS AND ADVISORS AND WHAT IS THE CLARION LIST’S SCOPE OF SERVICES, AREAS OF SPECIALIZATION AND EXPERTISE?

We have a wide range of private art dealers – those who have their own inventory to sell, those looking to acquire inventory and those who are able to privately seek out particular works on behalf of a client. We list both dealers who work out of an office and those that appear to be galleries but are only available by appointment in our “Private Art Dealers” category.

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HOW DOES THE RATING AND REVIEW SYSTEM WORK AT THE CLARION LIST? WHAT DO YOU HOPE IT PROVIDES?

We hope it provides transparency and accountability for the global art market. Any client or colleague of a listed company may submit a review; it takes just a few minutes and requires quick account log-in. clarionlist.com/reviews details the quick process.

YOUR EDUCATIONAL BLOG IS A VITAL ADDITION TO THE DIRECTORY, TOUCHING ON TOPICS AS WIDE-RANGING AS THE ART MARKET, AUCTIONS AND ART TRANSPORT. WHAT ARE SOME OF THE SUBJECTS YOU EXPLORE THAT YOU CONSIDER THE MOST IMPORTANT? WHAT ARE SOME OF THE TOPICS YOU PLAN TO ADDRESS IN FUTURE POSTS?

With a growing collecting class – especially among millennials – its important to educate about how to care for art before and after purchase. We try to highlight art services among our 35 listed categories. Some of our more popular topics are “how-to’s” and “why hire” regarding art appraisers, conservators and private dealers. We write one educational piece for month and its featured in our monthly e-blast available for sign-up here: http://eepurl.com/bePKFf

bg-conservationWe also curate 3rd party content about growing and servicing art collections. Following our Twitter, Instagram, Facebook and LinkedIn pages are good ways to ensure you are up to date on these types of articles.

twitter.com/ClarionList

facebook.com/clarionlist

linkedin.com/company/the-clarion-list

instagram.com/the_clarion_list

IN OUR NEXT LRFA POST, JESSICA WILL ENLIGHTEN US ON FUTURE PLANS AND DIRECTIONS FOR THE CLARION LIST. THEY ARE EXPANDING SO RAPIDLY, IT MAY BE OUTDATED BY THE TIME THE LRFA BLOG POSTS! DO CHECK OUT THIS INNOVATIVE ONLINE DIRECTORY FOR YOURSELF, A VALUABLE RESOURCE IN OUR 2.0 WORLD!

The tradition of art conservation with Brad Shar of Lowy’s

 

 

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LOWY’S STATE OF THE ART CONSERVATION STUDIO IS AN ENVIRONMENT WITH AN ABUNDANCE OF UNOBSTRUCTED NATURAL LIGHT, FACILITATING IDEAL CLEANING AND INPAINTING CONDITIONS. THE STUDIO IS GENEROUSLY EQUIPPED WITH BOTH TRADITIONAL AND INNOVATIVE EQUIPMENT, EVERYTHING REQUIRED TO  PROVIDE THE HIGHEST LEVEL OF SERVICE TO CLIENTS WHO RANGE FROM PRIVATE COLLECTORS, GALLERIES AND MUSEUMS.  PAINTINGS ARRIVE AT LOWY’S CONSERVATION STUDIO IN A WIDE RANGE OF CONDITIONS, SOME, FOR EXAMPLE, ONLY REQUIRING A LIGHT CLEANING; OTHERS WITH AREAS OF FLAKING OR SURFACE DISTORTIONS. FLAKING AREAS ARE SET DOWN WITH A SYNTHETIC ADHESIVE AND TREATED WITH LOCALLY APPLIED HEAT AND PRESSURE WHILE SURFACE DISTORTIONS ARE TREATED WITH HEAT AND HUMIDITY WHEN POSSIBLE. SOME WORKS REQUIRE RELINING TO ADD ADDITIONAL SUPPORT TO STABILIZE THEM. THESE COMPLEX AND DIVERSE SETS OF CONDITION ARE SOMETIMES EXACERBATED BY AN ARTIST’S USE OF EXPERIMENTAL MATERIALS AND TECHNIQUES.  THE CONSERVATORS AT LOWY’S EXAMINE EACH WORK CAREFULLY TO DETERMINE THE MOST APPROPRIATE CONSERVATION AND CLEANING METHODS. IT’S A VERY LABOR INTENSIVE PROCESS THAT REQUIRES SENSITIVITY TO THE ARTIST’S INTENT AS WELL AS EXTENSIVE KNOWLEDGE OF CHEMISTRY AND SCIENCE, TRADITIONAL AND INNOVATIVE CONSERVATION TECHNIQUES AND TRAINING.

Julius Lowy Woodshop

Julius Lowy
Woodshop

BRAD SHAR, VICE PRESIDENT AND GENERAL MANAGER AT LOWY, HAD BEEN WORKING ALONGSIDE HIS FATHER IN THE FAMILY BUSINESS SINCE 1991. BRAD HAS A DEGREE IN ART HISTORY AND A PASSION FOR TECHNOLOGY, THE PERFECT FIT TO CONTINUE THE LEGACY OF LOWY:  RESPECT AND EXPERIENCE IN CENTURIES OF FRAMING AND CONSERVATION  AND AN INNOVATIVE SPIRIT EAGER TO EXPLORE NEW CONSERVATION, FRAMING  AND TECHNOLOGICAL ADVANCES, SUCH AS LOWYSCAN, A GREAT DIGITAL IMAGING SYSTEM THAT BRAD INTRODUCED TO LOWY’S CLIENTS FOR STATE-OF-THE-ART FRAMING.

BRAD, WHAT IS THE HISTORY OF ART CONSERVATION? HOW HAS IT EVOLVED AND HOW HAVE THE TOOLS AND EQUIPMENT CHANGED EVEN BETWEEN THE TIME LARRY SHAR, YOUR DAD, STARTED AT LOWY AND  WHEN YOU JOINED THE COMPANY?

This is an interesting topic, and it relates in every way quite directly to the history of the art business in America and Europe. As lore has it, my grandfather became one of the earliest “Art restorers,” in New York history, and this came about due to a very typical depression era phenomenon, which was the basic need for employment. My grandfather, trained as an accountant, came to New York in the 1930s, and having a cousin who managed the Lowy firm, went to work in maintenance. Having a keen eye for art, he began learning the craft of restoration, and eventually rose to master it, and later own the company. In those days, the method of reinforcing a deteriorating canvas, was to apply hot wax, between the new and old canvas layers. In the 1980s, a chemical adhesive, BEVA 371, became the new standard for linings. By this time, as well, Universities in Europe and the U.S. had established curriculums to educate students in the more standardized field which has now become known as Art Conservation. Modern conservation involves national and international organizations who share techniques, knowledge, discoveries, and of course technology, which is constantly evolving. 

The art of gilding

The art of gilding

HOW ARE OLD MASTERS, AND MORE TRADITIONAL PAINTINGS  ON CANVAS, TREATED AND DO THE SAME CONSIDERATIONS APPLY TO CONTEMPORARY WORK?

All oil paintings can be approached the same way, and by a specific set of rules, though the age of paintings, as well materials used tend to present a different set of common problems associated with artworks of different periods. For example, old master paintings are commonly done on wood panels, or even copper. It’s also common to come across old master paintings in need of conservation, which have been restored long ago, and could have evidence of old techniques such as cradling, which needs to be addressed as part of the new necessary treatment.

In contrast, when it comes to the approach to contemporary works, it’s extremely common for the artists to have worked in materials which are not meant for longevity. Whereas, old master era artists, and even artists through the 19th Century were trained for their craft at academies and universities, modern art after about 1960s is widely categorized by more renegade artists, who frequently rejected the traditionally taught methods of creating oil paintings. This resulted in many of these artists creating works by using materials that are not meant to stand the test of time. Many of these artworks are now valued in the hundreds of thousands, and even millions. The approach to conservation of these contemporary masters can be widely varied due to the inconsistency of materials used. We tend to work on a pretty even split between traditional paintings and contemporary ones.

WHAT ARE SOME OF THE PARTICULARLY MEMORABLE WORKS THAT HAVE BENEFITED FROM LOWY’S EXPERT CONSERVATION METHODS? PLEASE SHARE SOME OF THE CASE STUDIES THAT COME TO MIND.

 

Hilly Shar OLD KING COLE Maxfield Parrish mural

Hilly Shar
OLD KING COLE
Maxfield Parrish mural

One of the most notable and interesting projects in our history were the Maxfield Parrish “Old King Cole,” murals, which hang in the bar of the St. Regis hotel. My grandfather Hilly Shar, and his partner John Sisto, teamed up to restore these murals in the early 1960s. One of the things we’re proudest of in our conservation lab, is our large scale modern hot table, which allows us to treat works of this scale. Interestingly, years later a private client of ours purchase 2 Parrish murals from the Old King Cole series, for use in a private home, and our team of conservators was able to restore them using modern techniques in 2011 and 2013 respectively. Modern materials were used in the recent work, but the craft and attention to detail is essentially the same. 

 

Maxfield Parrish  2011

Maxfield Parrish
2011

 

 

WHAT WERE SOME OF THE MOST CHALLENGING CONDITIONS THE CONSERVATION STUDIO HAS CONFRONTED IN ITS HISTORY AND HOW HAVE THEY BEEN SOLVED?

The most challenging conditions usually occur when we have to work on paintings on location. The short answer to solutions is where there’s a will there’s a way. We’ve worked on large-scale canvases at beach homes with high-humidity, and used anything from hair dryers to hand irons to aid in the process.

Another challenging condition we face frequently is the presence of natural resin varnishes on oil paintings that are stubborn to remove. Our younger staff members who are trained in chemistry will make diluted solutions of chemicals like acetone, and make small tests to determine what solution will be most effective at removing the varnish, without endangering the paint layer.

IN OUR NEXT LRFA BLOG, BRAD WILL EXPLORE SOME OF THE INNOVATIONS THAT HAVE PROFOUNDLY CHANGED THE TECHNIQUES AND APPROACH OF ART CONSERVATION, THE DEMANDS OF STAYING CURRENT IN THIS EVER EVOLVING FIELD THAT DEMANDS BOTH SCIENTIFIC KNOWLEDGE AND AESTHETIC SENSITIVITY.

BE SURE TO CHECK OUT THE CASE STUDIES ON LOWY’S SITE – EACH EXAMPLE IS A FASCINATING JOURNEY OF THE ART OF CONSERVATION. http://www.lowynyc.com/#!casestudies/c65q

 

 

Julius Lowy: The Art of Conservation

Julius Lowy Showroom The Fine Arts Building New York City

Julius Lowy Showroom
The Fine Arts Building
New York City

ESTABLISHED IN 1907, THE FINE ART CONSERVATION STUDIOS AT JULIUS LOWY FRAMING AND RESTORATION HAVE A LONG AND RESPECTED HISTORY OF PRESERVING WORKS ON ART.  THE STUDIOS TREAT WORKS THAT RANGE HISTORICALLY FROM OLD MASTER TO CONTEMPORARY PAINTING AND WORKS ON PAPER. LOWY’S EXPERTS HAVE TREATED WORKS BY THE WORLD’S MOST CELEBRATED ARTISTS: FRENCH IMPRESSIONISTS SUCH AS RENOIR, MONET AND DEGAS; AMERICAN LUMINARIES THAT INCLUDE JOHN SINGER SARGENT, WILLIAM MERRIT CHASE AND MAXWELL PARRISH; DISTINGUISHED HUDSON RIVER PAINTERS SUCH AS THOMAS COLE AND FREDERIC CHURCH; TWENTIETH CENTURY MASTERS THAT INCLUDE GEORGIA O’KEEFFE, MARK ROTHKO AND WILLEM DE KOONING. http://www.lowy1907.com

THE ORIGINAL INTENT OF THE ARTIST REIGNS SUPREME IN THE CONSERVATOR’S DECISION-MAKING PROCESS WITH EACH AND EVERY WORK OF ART.  LOWY’S CONSERVATION SPECIALISTS ARE COMMITTED TO THE CONSERVATION PRINCIPLE OF MINIMAL INVASION, STUDIOUSLY EMPLOYING ADVANCED MATERIALS AND TECHNIQUES IN THIS EFFORT.

TODAY, BRAD SHAR, A PARTNER AND PRINCIPAL AT LOWY, WILL EXPAND OUR KNOWLEDGE OF THE FIELD OF ART CONSERVATION IN GENERAL AND LOWY’S EXCEPTIONAL CONTRIBUTIONS TO ITS ADVANCEMENT IN PARTICULAR.

BRAD, THANK YOU. WHAT ADVANTAGES DO YOU SEE IN THE NEW LOCATION? ARE YOU PLANNING ANY TECHNICAL CHANGES TO THE WORKING METHODOLOGY AND PROCESS?

The biggest advantage of the new location is convenience. It allows us to reach and be reached by our existing and new clients, and we’re focusing on promoting the full-service nature of Lowy, specifically house calls, and full fine art services including high-tech digital photography and archiving. Interaction with our clients remains consistent as it has always been. We can do consultations here at the showroom, on-site in their homes, at our Long Island City facility, or through email.

Julius Lowy Conservation Studio

Julius Lowy
Conservation Studio

YOU HAVE ALWAYS INVESTED IN MAINTAINING AND MODERNIZING YOUR TECHNOLOGY, BOTH IN TERMS OF YOUR WEB SITE AND, MOST IMPORTANTLY,WITH STATE OF THE ART CONSERVATION EQUIPMENT AND TECHNOLOGY. PLEASE TELL US ABOUT THIS ASPECT OF JULIUS LOWY.

The web site has been recently updated with a new look, and new simplified navigation. We also have a new url: www.lowy1907.com, along with a frequently updated blog, and Facebook page.

Ever since launching the first of its kind virtual framing software, Lowyscan, we’ve always been interested in leveraging modern technology to assist in the visualization process. We continue to evolve the in-house software. Staff of the conservation lab attend AIC conferences annually, and make sure that we acquire any new devices available to make their jobs easier and more accurate.

HOW WOULD YOU DESCRIBE YOUR CONSERVATION STUDIO? WHAT MAKES IT TOP OF THE LINE?

Of course we have all of the top technological equipment, such as a modern hot table and paper press, but what makes our conservation studio top notch is really the Staff.

Bill Santel Chief Conservator

Bill Santel
Chief Conservator

We have Bill Santel, our Chief conservator, and New York based for over 30 years, working with Lauren Rich, our Senior Conservator, bringing youth and curriculum to the room, as well as 15 years of practical experience. To round out the room, we have structural and color experts, and we maintain a cross-cultural technique exchange program which we award to 1 foreign intern per year. This allows us to teach our techniques to those from European and South American countries, as well as continually learn from them.

 

Lauren Rich Painting Conservator

Lauren Rich
Painting Conservator

WHAT KIND OF EQUIPMENT IS REQUIRED IN ORDER TO CLEAN PAINTINGS IN PARTICULAR? WHAT ARE SOME OF THE TOOLS REQUIRED FOR ART CONSERVATION?

The equipment required to clean paintings hasn’t changed greatly over the last 50 years, it’s really more about a study of chemistry and more academic understanding of the aggressiveness of each chemical, and how each one interacts with the different artist’s materials that had been available at the time of creation for each piece. The cleaning process is still really done using various chemicals, and cotton swabs.

ART CONSERVATION IS, BY ITS VERY NATURE, INTERDISCIPLINARY. EXPERTISE GLEANED FROM SUCH DIVERSE FIELDS AS BIOLOGY, CHEMISTRY, CONSERVATION AND ART HISTORY PROVIDE INFORMATION NECESSARY TO SOLVE SPECIFIC PRESERVATION AND RESTORATION  CONCERNS.  LOWY’S SPECIALISTS ARE CONSTANTLY WORKING TO DEVELOP AND IMPROVE THE CONSERVATION STUDIO’S KNOWLEDGE AND TECHNOLOGY.

IN OUR NEXT LRFA BLOG WE WILL EXPLORE SOME SPECIFIC INSTANCES IN WHICH THIS COLLABORATIVE EFFORT TRANSFORMS A DETERIORATING WORK OF ART INTO ONE THAT IS TRUE TO THE ARTIST’S ORIGINAL INTENT BUT PRESERVED FOR CURRENT AND FUTURE GENERATIONS.

YOUR COMMENTS, QUESTIONS AND SUGGESTIONS ARE VERY WELCOME! THANK YOU FOR READING THE LRFA BLOG AND YOUR CONTRIBUTIONS TO ITS CONTENT AND DIRECTION.

MORE TO FOLLOW!

Julius Lowy Framing and Restoration- new digs, new website, same tradition of quality

 

LOWY

LOWY

JULIUS LOWY IS A CELEBRATED NEW YORK BASED FRAMING AND RESTORATION COMPANY  PROVIDING IMPECCABLE FINE ART FRAMING, CONSERVATION AND RESTORATION SERVICES TO ART COLLECTORS, MUSEUMS AND GALLERIES SINCE 1907. IT IS A MULTIGENERATIONAL FAMILY BUSINESS AND BRAD SHAR, VICE PRESIDENT AND GENERAL MANAGER,  PROVIDED US WITH AN INSIDER’S VIEW OF ITS RICH HISTORY AND ACCOMPLISHMENTS IN MARCH 2012 IN OUR LRFA BLOG.

LOWY HAS A REMARKABLE COLLECTION OF ANTIQUE FRAMES RANGING FROM EXTREMELY RARE 16th CENTURY RENAISSANCE THROUGH 20th CENTURY ARTS & CRAFTS MODELS.  THE BREADTH AND DIVERSITY OF THE COLLECTION ALLOWS LOWY TO MEET THE NEEDS OF MUSEUMS, INSTITUTIONS, ART DEALERS AND PRIVATE COLLECTORS WHO WANT HISTORICALLY ACCURATE AND APPROPRIATE FRAMES FOR THEIR WORKS OF ART.

Lorenzo Monaco, 15th Century: Tabernacle Frame

Lorenzo Monaco, 15th Century: Tabernacle Frame

IT IS WITH GREAT PLEASURE TO REINTRODUCE BRAD  SHAR TO THE LRFA BLOG TO INFORM US OF THE EXCITING NEW RELOCATION AND EXPANSION OF HIS COMPANY AND TO ZERO IN ON A CRUCIAL ASPECT OF COLLECTION MANAGEMENT AND CONCERN: THE ART OF CONSERVATION.

Brad Shar Julius Lowy Framing and Restoration

Brad Shar
Julius Lowy Framing and Restoration

BRAD, THANK YOU FOR CONTRIBUTING TO THE LRFA BLOG. PLEASE GIVE US A LITTLE OF THE EXTENSIVE HISTORY OF JULIUS LOWY. AFTER MANY YEARS ON EAST 80th, YOU HAVE NOW RELOCATED TO A TERRIFICALLY WELL EQUIPPED SHOWROOM IN  THE FINE ARTS BUILDING at 232 EAST 59th STREET BETWEEN 2nd and 3rd AVENUES  IN NEW YORK CITY AND MODERNIZED PLANT FACILITY IN NEARBY LONG ISLAND CITY.

http://www.lowy1907.com

Lowy In the Window  Fine Arts Building, NYC

Lowy In the Window
Fine Arts Building, NYC


TELL US ABOUT THE NEW SPACE. WHAT DOES IT INCORPORATE? WILL YOU BE ABLE TO PROVIDE THE VAST SELECTION OF ANTIQUE FRAMES FOR WHICH YOU ARE SO RENOWNED?

We’re extremely proud of our new, modern space on the 4th floor of the Fine Arts Building. A historic building in the heart of the design district. Our new showroom is approximately 4000 square feet, newly renovated and bright. Here we have enough room to accommodate large paintings, as the showroom floor itself is 50% bigger. We also house several hundred of our 5000 strong antique frame inventory in the showroom annex, with the balance just minutes away at the plant facility. Our workshops are literally a 10-minute trip away, via subway, bus or car.

frames 1

WHERE WILL THE ACTUAL PRACTICAL FITTING AND FRAMING OF ARTWORK TAKE PLACE? WILL IT BE IN ANOTHER VENUE AND WILL 59th STREET ESSENTIALLY BE A SHOWROOM?

Our Painting conservation, carpentry, gilding and fitting departments are housed in our newly renovated, climate controlled 10,000 square foot facility just over the bridge in Long Island City, Queens. The Manhattan showroom is more conveniently located for most clients, and allows us to focus on sales and service. The new plant location is still conveniently located, just over the Queensborough Bridge, and we’re doing regular consultations with clients there, as well as visits.

WHAT PROMPTED THE MOVE?

After many years of being nestled in the heart of what was once New York’s “art world,” the Upper East Side, most galleries have moved to Chelsea and mid-town, and our designer clients were always based in this neighborhood. So while our old block is still charming, it’s just not a place people really come to do business. Since so much of our orders come from online correspondence, and on-site service visits, we decided to relocate to a more central location to respond better to the needs of our market.

IN THE NEXT LRFA BLOG, BRAD WILL DESCRIBE THE SOPHISTICATED TECHNOLOGICAL ADVANCES THAT LOWY INCORPORATES INTO ITS NEW FACILITY. LOWY OFFERS FINE ART SERVICES THAT FACILITATE THE DECISION-MAKING PROCESS FOR THEIR CLIENTS.

IF YOU HAVE ANY QUESTIONS OR CONCERNS WITHIN THE BROAD SPECTRUM OF ANTIQUE AND CONTEMPORARY FRAMING, CONSERVATION AND RESTORATION, THEY WILL BE DIRECTED TO EXPERT BRAD SHAR.

FIRE AWAY!