As fine art enthusiasts we all, at times, fall under the emotional spell of the bright colors and moving lines of a particular composition, yet there is more to a colorful scene than a visual image. A "behind the scenes" investigation will tell you a great deal about the prospective painting. The name of the artist, title of the painting, canvas maker, date of canvas and stretcher, exhibitions and former owners are some of the things that may be revealed upon closer examination. Whether the painting is a portrait, landscape, or still life if we like it, we want it. And after all, isn't it the intent of a painting to provoke an inner excitement we call instinct or taste? The answer is yes, we should enjoy, if not relish art. However, when buying an antique painting, as with any antique, a detailed on-the-spot, examination should take place. Sounds too complicated, you say? Not at all. A small checklist covering composition, support, paint layers, varnish and frame is all that is needed. The first part of our checklist examination is easy for it deals with composition, and as already stated, it is a matter of personal taste and enjoyment. In addition to enjoyment, keep in mind that paintings, especially landscapes, possessing bright, cheerful colors will usually command the highest prices because of popularity; a portrait or figure painting of a woman will usually sell faster than a portrait of a man unless he is elegantly detailed and surrounded by character revealing objects or important documents; and portraits of children, alone or grouped, seem to be enjoyed by many. Size must also be considered at this time. The small and medium sized easel paintings are more practical in today's home, thus more marketable than the larger full-length portraits and landscapes usually seen only in museums and public buildings. Bigger does not always mean better! Next, turn the painting over and examine the "support." This is the material on which the picture was painted. The most commonly used supports were, and still are, fabric (linen), wood, and a combination of the two. Other types have been used but present deterioration problems. Examine wood panels for worm holes, cracks, sealing material, hardware and, of course, any markings or labels that aid in revealing provenance. If the back of the panel is not properly sealed, moisture will be absorbed from humid atmospheres causing swelling and, in arid conditions, drying and shrinking will occur. Moisture absorption is detrimental to wood. It causes a concave warping that, in time, forces the paint layers to lift and push together in a "tenting" formation. Drying out causes a convex warping movement that pulls at the paint layers, causing them to crack and separate thus producing gaps in the original composition. Both conditions can be treated but the process requires a great deal of time and expense. Changes in environmental conditions create a back-and-forth movement most inflexible, antique paint films cannot endure for too long a time. The atmospheric changes discussed here are not necessarily geographic. Paintings from a hot, dry attic to a humid basement, or those hanging near a door or over a fireplace, undergo severe atmospheric changes. These changes will move the support and paint, which will eventually damage the structure and distort the image. Panels that are held fast to the frame by nails, screws and mending plates are in danger of cracking, or "checking," because wood panels, especially thin ones, have a tendency to move. Securing the panel tightly to the frame to discourage movement will do more harm than good. Remember, it is the lack of sealing material on the back of the panel plus the changing atmospheric conditions that cause the panel to warp. Placing extra strain on the panel with the wrong hardware will cause it to check or split completely along the grain. If tension is obvious, conservation work will be required and must be a consideration when determining the price of the painting. Pictures painted on fabric will require a secondary, or auxiliary support. This is the wooden frame the canvas is stretched over and tacked to. Basically there are two types of secondary supports "strainer" and "stretcher." The strainer is the older of the two and, for its purpose, it is very poorly designed with fixed joints held fast by nails and/or dowels. The half lap, or ship lap, was the simplest and most common during the 18th century. Variations of the mortise and tenon were also used at that time but were not common until after 1800. The stretcher appears in America in the late 18th century. This is a much better design because the joints are expandable, which keeps the canvas taut. This usually reduces the amount of conservation work because a taut canvas doesn't wrinkle and distort the paint layers. Stretchers have two triangular wedges, or "keys," placed in the angle of each corner. As the keys are tapped in, the corners separate slightly and the canvas support becomes taut. When the humidity and temperature change, the whole painting moves. A rise in humidity causes the support to swell and become slack while a lowering of humidity causes it to contract. This constant expanding and contracting of the canvas may eventually lead to a warped stretcher, torn canvas, cracked paint and paint losses. This action may also loosen the keys and cause some of them to fall out. When keys are missing, check the bottom of the painting between the canvas and the auxiliary support. This area seems to be a catch-all for other debris too and, if objects are allowed to remain, they may damage the painting. Missing keys should be replaced as soon as possible to keep the canvas taut and wrinkle free. The keys should be lightly tapped into place taking care not to touch the canvas or cause a sudden shock to either the canvas or the paint layers. If an aged canvas is stretched too quickly it will tear. The most commonly used corners for stretchers are miter, half-miter, and butt-end. The miter corner is made by placing two 45-degree, slotted angles together creating a perfect 90-degree corner. The butt-end corner is comprised of two 90-degree, slotted angles butting together to make a 90-degree corner. The half-miter is a combination of the miter and butt-end. It appears to be a butt-end from the back but the side hidden by the canvas is mitered. With the miter corner the expansion and contraction movement is even, therefore superior to the uneven, side movement of the butt-end corner. The auxiliary support should be beveled on the side that faces the canvas so the innermost part of this wood frame does not crease the canvas. Because the butt-end has an uneven movement, it can cause wrinkles or "draws," in each corner of the canvas. If the draws are allowed to remain for a period of time the paint layers will harden to their form, become difficult to remove, and may disfigure the painting. The most common support is linen. After it is stretched, sized with animal glue, and primed, it is usually referred to as "canvas". When the artist prepares a canvas as mentioned, it is referred to as artist primed or artist ground. When the canvas is prepared commercially it is referred to as preground or preprimed. Commercially prepared canvas was often stenciled or stamped by the manufacturer and/or seller . Stencils are helpful in authenticating date and place of creation. As canvas makers and sellers changed locations they changed their stencils. Therefore, if the selling date of the canvas can be established by tracing the stencil to a specific location, a starting for the paintings creation is also established. In other words, if an unrestored painting is signed and dated by an artist who died in the year 1850 but has a stencil on the back used by the manufacturer and/or seller from 187580, 2530 years after the artist's death, the painting is an obvious fraud. The physical structure of the canvas should also be examined. The inside edge, partially hidden by the frame, is called "tacking edge" because it is the edge used to secure the canvas to the auxiliary support. Wooden tacks will usually be found on works completed during colonial times. Before the 18th century wrought tacks were a luxury few artists could afford. The tacking edge reveals quite a bit about care in preparation. If it was left raw, or unprimed, most likely it was prepared by the artist. If it was primed and the tacks were not covered with primer it was commercially prepared. When tacks fall out or placed too far apart the canvas support can develop something called "scalloping". This is a result of fabric shrinkage between tacks placing a great deal of tension at the tacking point. Permanent damage and disfigurement may result if the condition is left untreated. The older the painting the more dried out and vulnerable the canvas will be. Trying to stretch out the scalloping will tear the canvas at the crease on the tacking edge; therefore its treatment is for experienced hands. When the original tacking edge is missing, the back of the canvas appears to have a brownish coloring, and the edge is covered with tapethe painting has been "lined". Lining is the process of attaching a new piece of raw linen to the back of the original canvas. This process is used to strengthen a weak support, repair tears, and bind loose pigment. Canvas and oil paint are organic materials that break down with age and, to secure longevity, must undergo the lining process at some point in time. The paint layer really consists of several layers of paint: strong layers, weak layers, flexible layers, brittle layers, etc. Its condition depends on two major things: how the artist constructed the total painting; and how the painting has been cared for since its completion. Cracking and paint losses are often very apparent but sometimes a careful examination is necessary. When possible, hold the painting up to a light source such as a lamp, window, or direct sunlight. The painting should be far enough away from lamps or windows to avoid contact but close enough to allow light to show through the cracks. Handle the painting carefully! Sometimes sections of paint are extremely looseheld only by a threadand improper handling will result in paint loss. Oil paint moves during the drying process, shrinks, and becomes brittle with agethus "age cracking" is unavoidable and a display of antiquity that should be secured but not disguised. The type of cracking you should be concerned with is cupping,curling, lifting and separating from the support and/or ground. A light source placed at an angle to the painting will create a highlight and shadow pattern wherever these irregularities exist. This is known as "raking light illumination" and, in addition to being a quick and easy examination, it is very informative. If the raking light reveals this type of cracking and separating, the best remedy is to line the painting with an adhesive that will consolidate the defective areas. Oil paintings are usually protected from dust, grime, soot and other environmental conditions with varnish. When varnish ages it becomes brittle, it cracks and it turns from a transparent coating to an obscuring yellow-brown coating: it dulls the paintings color, reduces visual depth, and loses its ability to protect the painting. A bluish white cloudiness, called "bloom", is another common varnish ailment. It is caused by minute fractures and further deteriorated by moisture. When varnish discolors and cracks it destroys the appearance of a painting and it loses its effectiveness as a protective coating. This discouraging condition is as temporary as the varnish coating and, if you like the painting, its purchase should not be ruled out. Picture varnish can usually be removed without too much difficulty by a paintings conservator. A day or two after varnish removal a fresh coat should be applied to ensure future protection as well as restoring the natural coloring and visual depth to the painting. The last part of our checklist examination will deal with the frame for it is the last, and most neglected, step in the preservation of a painting. Framing is usually thought of as a decoration only but its primary function is to house the painting. Some of the newer frames are not strong enough to support the painting and, unfortunately, the reverse effect is truethe painting supports the frame. Antique frames are usually built heavy enough to discourage warping of the auxiliary support thus eliminating tears and cracks produced by such movement. Check the screw-eyes. They should never be attached to the support. Some artists do this for exhibition purposes and somehow they remain to do a great deal of damage to the picture. Imagine the effect of a light, fragile stretcher supporting the weight of a heavy frame! The proper size screw-eyes should be firmly attached to the frame only! The total weight of the frame work will determine a suitable gauge picture wire. If the wire appears to be old and weak, have it replaced. I have seen too many paintings very badly damaged because of an attempt to retain original screw-eyes and wire. What a shame! The placement of the screw-eyes and the length of the wire should allow the painting to hang slightly forward. This softens glare, keeps some of the dust from accumulating on the surface, and permits air to circulate around the painting. And finally, before you place your new investment on the wall, check the picture hanger to see if it is firmly planted. Now relax and, with peace of mind, enjoy your antique painting. |