Tag Archives: framing

How to Collect Art: Tips for New Collectors

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Collectors at the 2012 Baltimore Contemporary Print Fair.

The Baltimore Contemporary Print Fair (March 27-29) is a biennial fair that brings printers, publishers, and dealers to Baltimore for one weekend to sell the latest in contemporary prints and multiples. Ranging from emerging to blue chip artists, and from $500 to $50,000, there is something for everybody. The BCPF provides a wonderful opportunity for younger and first-time collectors to add reasonably priced works of art by today’s best makers, and also offers visitors the opportunity to engage directly with the people who worked with the artists to make the prints. Staff from many of the country’s most important print studios will be on hand to tell you about their experiences and help you understand how the prints were made. It’s a not-to-miss event. In addition, to make visitors feel welcome, Museum staff will be on hand to offer guidance throughout the weekend.

If you are a first-time collector, or just looking for a better experience buying art, these tips might help.

The Basics
The International Fine Print Dealers Association (IFPDA) defines an original print as a work of art on paper that has been conceived by the artist to be realized as a print, rather than as a reproduction of a work in another medium. There is always a fuzzy line between posters and prints, but suffice it to say, at the BCPF, visitors will be looking at original prints.

Condition
While most prints at the BCPF are very recent, the first thing to consider when looking at any potential purchase is condition. Check to make sure the print hasn’t been compromised, meaning it’s not scratched, torn, wrinkled, or too yellowed. You want the paper to be free of marks, creases, and dents.

Technical knowledge
If you like an image but are unfamiliar with the techniques used to realize it, ask the dealer to help you understand better. There are lots of glossaries around that describe printmaking techniques. A handy one can be found on the IFPDA’s website here: http://www.ifpda.org/content/collecting_prints/glossary.

We can’t emphasize enough the value of engaging the vendors in conversation. They are there to help you understand not only the technical aspects of a work of art, but also to help you understand what the artist was thinking; as we say in the department, the “what’s the what”.

Making a purchase
When it comes to making a purchase, please know the deal is between you and the vendor. Negotiating is part of the deal. Don’t be afraid to ask if a discount is available; it can’t hurt to try!

The bottom line on purchasing art is that purchases should not be made based on the speculative future value of the object, but it should be bought because you love it and want to live with it.

Framing
Once a purchase has been made, you’ll want to frame the work. There are many good framers in the Baltimore metro area. The museum can recommend several who will treat your purchase well. The quality of the materials the framer uses is important. The bottom line: pay for the best materials you can afford.

Care at home
Bringing your purchase home is always exciting. When considering placement within your home, several factors come into play. When possible, steady climate control is best. Dampness and heat should be avoided in the area where the print is stored, if possible. Be sure to keep your print out of direct sunlight as this can also cause damage to the ink and paper. If your print is unframed, be sure to store it flat to keep the edges from curling and/or tearing.
More information on how to care for your work on paper.

The Baltimore Contemporary Print Fair will be held at the BMA March 28-29, 2015. See the website for full details about exhibitors, and special events. Entry to the event is free for BMA Members. Tickets for non-members are $15 for both days, and $10 for one. Students and teachers with a valid I.D. are free. 

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BMA Voices: Beautiful frame meets serious portrait.

John Hesselius. John Hanson. c. 1760. The Baltimore Museum of Art: Bequest of Elizabeth Curzon Hoffman Wing, in Memory of Hanson Rawlings Duval, Jr., BMA 1967.30.37

John Hesselius. John Hanson. c. 1760. The Baltimore Museum of Art: Bequest of Elizabeth Curzon Hoffman Wing, in Memory of Hanson Rawlings Duval, Jr., BMA 1967.30.37

Lauren Ross, Senior Conservation Technician 

While preparing paintings for the BMA’s newly installed American Wing, I’ve come to appreciate some decorative styles in frames in which I hadn’t previously been as interested. I have a great attraction to frames from the 19th and 20th centuries, and frames made by artists, and wood frames from the 17th century in Northern Europe. Honestly, I couldn’t choose a favorite. But the beautifully refined and carved frames for some of our late 18th American portraiture have recently caught my eye, in part because I needed to treat one.

The frame for the portrait of John Hanson by John Hesselius was made c. 1760. The frame seems to be original to the painting, fits it well, and is stylistically contemporary. Prior to installing the framed work in the gallery, both the painting and its frame needed some attention. As I focus on frames primarily, that’s what I will talk about.

The frame had not been examined until recently, and it was discovered that its surface was covered with a layer of soot and grime. There were splits near the site edge of the frame at the mitres, and numerous missing pieces of ornament and losses to the gilding.

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Before treatment photograph of the frame.

Gilding is usually topped with shellacs and tonal coatings that over time can be difficult to clean, as the dirt becomes imbedded. It’s a careful task to undertake: gold leaf is very sensitive to many solvents and also to excessive rubbing or handling. The entire frame is carved wood that’s been gilded (more than once). There are no composition ornaments which have been sculpted separately and then added on. The workmanship in the carving of the frames of this period is exquisite, with moments of angularity. This frame is actually quite delicate. There are pierce-carved center and corner cartouche ornaments with leaves. The swept top edge of the profile consists of a gentle serpentine ribbon which is burnished and water-gilded, and terminates in c-scrolls at center ornaments. The rest of the gilding scheme is matte. The site edge of the frame exhibits a gadroon pattern, which radiates directionally from the centers of the rails, drawing the viewer’s eye into the picture plane. There are three large leaves which adorn the center ornaments as well, splayed out in symmetrical fashion. The quiet areas of the profile are adorned with gentle and delicate garlands of small leaves and flowers. Another beautiful feature is the way that the pierced carved negative voids echo the oval format of the portrait on its rectangular ground.

It is a very fine example of mid to late 18th-century American frames, which closely resemble their contemporary English counterparts. Sometimes they are called American Rococo. I have seen these frames referred to as George III (although in this case, that appellation would NOT have gone over well, situated on the portrait of John Hanson. In 1781, John Hanson of Charles County of Maryland became the first President of the United States in Congress Assembled, under the Articles of Confederation and was a great patriot. Part of Maryland’s Route 50 is even named for him.)

The treatment performed consisted of dusting, consolidation of gilding, structural repairs, loss compensations and ornament casting and replication, gesso recutting, in addition to surface cleaning and ingilding.

Hanson MT detailI finished this frame with no time to spare before it needed to be installed.

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After treatment photograph of the frame.

The framed painting is now hanging in “Salon style” in the newly installed Dorothy McIlvain Scott American Wing, in Gallery 8, along with a large group of portraits in the BMA’s collection.

BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.

BMA Voices: A Green Frame? Uncovering the Original Artist’s frame for Thomas Hart Benton’s “Bubbles”

Thomas Hart Benton. Bubbles. 1914 1917. The Baltimore Museum of Art: Gift of H.L. Mencken, Baltimore, BMA 1947.317. Art © Thomas Hart Benton Trust / Licensed by VAGA, New York, NY

Thomas Hart Benton. Bubbles. 1914-1917. The Baltimore Museum of Art: Gift of H.L. Mencken, Baltimore, BMA 1947.317. Art © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY

A Green Frame? Lauren Ross, Senior Conservation Technician Paintings & Objects, describes uncovering the original artist’s frame for Thomas Hart Benton’s Bubbles, 1914‑1917.

BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.

Licensed by VAGA, New York, NY