Spending more time at home in 2020 had many of us explore new interests and develop new hobbies. For some, it was gardening; others began cooking more or finally learned to play that ukulele they bought on vacation one summer. Jon, a client of ours, used his time at home to learn more about art. He told us, “During Covid I started looking at online art auction lots for the first time as I wasn’t able to visit galleries. At first it was just fun to browse and learn about new (and old) artists I hadn’t heard of before, but occasionally something would catch my eye.”
Before Treatment
Before Treatment- Detail
After all his research, Jon decided to expand his art collection. He placed his first bid in April but lost. A few months later, he found an editioned print of Sol LeWitt’s Lines, Not Long, Not Heavy, Not Touching, Drawn at Random (Circle). “Not sure why I liked it so much,” he said, “but it made me smile.” He decided to bid on it, but the price quickly became too expensive.
During Treatment- Removing Gummed Tapes
During Treatment- Removing Gummed Tapes
In November, another edition of the same print went up for sale, but the condition report stated that it had handling marks and soiling on the lower edge. “Having worked with The Conservation Center previously, I was undeterred by the condition,” reported Jon. He bought the piece and sent it to The Center for treatment.
During Treatment- Cleaning with a Vinyl Eraser
During Treatment- Cleaning with a Vinyl Eraser
In addition to the handling marks and soiling reported by the auction company, our conservators found that the print also exhibited age-related discoloration and foxing, as well as areas of scratches and smudges. The print was hinged to an acidic board and had gummed tapes on the top and bottom verso edges.
During Treatment- Surface Cleaning the Print Carefully Using a Crumbled Eraser
During Treatment- Removing Debris with a Soft Brush
The treatment of the piece, much like the work itself, was very minimal. The print was removed mechanically from the mount and the hinges were lifted using poultices. Lauren Luciano, Associate Conservator of Works on Paper, carefully cleaned the print using a soft brush and vinyl eraser. She then treated it with a non-aqueous deacidification spray.
During Treatment- Creating Hinges
“In addition to the restoration, I had The Conservation Center do the framing,” Jon said. “When I arrived to review options, the framer had the perfect suggestion for frame material, color, glazing, and spacing.” The print was float mounted on a white mat and encased in a white maple frame. All elements of the framing adhered to conservation-grade standards meant to protect and prolong the life of the artwork. Additionally, the provenance of the work was encapsulated and attached to the backing board.
During Treatment- Carefully Adding Hinges to Connect the Print with the White Mat
During Treatment- Flattening the Print with Weights to Secure the Hinges
“Even with the additional cost for restoration, I was still below my original maximum bid for the same print I bid on four months earlier! Couldn’t be happier with the result!”
Preparation for Framing
Framing the Print
After Treatment
