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When originally executed, this grand painting of the Michigan Avenue Bridge, Tribune, and Wrigley buildings was a stunning portrait of
a bustling modern metropolis. Unfortunately, over time the painting was torn, punctured, abraded, and subject to water damage.
In addition, a heavy accumulation of grime and several layers of discolored varnish and linseed oil had obfuscated the image.
With attention and care the painting was restored to its grand state, befitting of a grand city.

Old House or cooking shows. And then of course the world of art is of an artwork before the damage that we can use as a reference. When
largely kept at arm’s length from the general public and getting a peek those cases arise it’s a real pleasure to have a data point that we can use
behind the curtain into a location that has four generations existed only during the conservation and restoration of the work. Unfortunately,
in secret is kind of magical. it’s quite rare, and even when there are photographs they may not be
suitable for our use.
What are some indicators of the age of a painting?
We can of course start with the subject matter; a portrait will tell us How can our readers help preserve their purchased artwork? Acrylic?
a lot about the time from the clothing and hairstyles of the sitter. Then Oil? Watercolor? Other?
we can look at the materials and often times we can deduce an approx- The best advice I can give to collectors is to do nothing to their
imate age based on the construction or the materials used. When all of artwork. Don’t try to clean it, don’t try to work on it, and don’t do
those fail and determining an age is critically important, we can turn to anything that could potentially jeopardize its stability. Make friends
scientific analysis and things like radiocarbon dating to give us a better with a good conservator and slowly work through your collection
indication. heeding their advice and methodically approaching each project.

I noticed in the video that you were doing the complete work from On a personal note, I have a painting created by my father when he
start to finish. Are there times when you allow others/colleagues to work was 12 – painted on cardboard. Amazingly it has stayed in great shape
on projects with you? Or someone to assist? over the past 70+ years. Materials used for paintings can range from
Aside from my assistant, no I papyrus to board to paper to canvas,
don’t outsource or subcontract any If you could give advice to the Old Masters about their work, and cardboard!
of the work. what would you say? There’s that saying about old
houses and how they don’t build
Do you have someone set up your YOU GUYS KNOCKED IT them like they used to. The same
table to begin the process or do you OUT OF THE PARK, applies to artworks. Old master
take care of mixing what you need paintings were made with care and
for solvents, varnishes, etc.? WHAT ELSE CAN I SAY … techniques that have stood the test
Again, for the past decade-plus of time. Contemporary works are
it was only me and only recently do I have an assistant so no, I don’t often built less well, and this will have a deleterious effect on them in
require or depend upon somebody else preparing or setting up my the future. Good quality materials, archival materials, and proper
workspace before I work. It’s critically important to me that I am in art-making materials all contribute to the success and longevity of a
control of, or aware of the entire process from start to finish. This work particular artwork.
isn’t easily delegated or segmented and being aware of and in control of
everything throughout the process results in a better outcome. Re: Varnishes – what are the better ones to use that will last, and
what should painters avoid?
Have you worked on modern works that have been damaged? Artists are very fortunate today that there are many modern and
I’ve worked on all types of pieces from old masters to contemporary synthetic residences that are ultraviolet stable and easily removed,
works and everything in between. Each painting has a unique set of unlike the natural reasons of yesterday. I generally tell artists to avoid
complications and requirements that can make the conservation appear using shellac and damar because they are fallible, and we know that
easy yet be very difficult. I generally find that more modern and there are better alternatives. Gamblin makes a wonderful varnish called
contemporary works are more complicated to conserve because of Gamvar based on a commonly used synthetic resin within conservation
unique materials or unorthodox creation methods, but that presents that is very stable, very easy to use, and very easy to remove if need be.
opportunities for growth and innovation that make this work so exciting.
There are others as well, but I always encourage artists to test any varnish
Do you ever work from photos of a painting taken before they were they intend on using so that they can understand how it is applied, how
worn/damaged? it will look when dry, and how to use it based on their work because every
There are rare instances when there is good enough documentation painting is unique and what may work for one artist may not for another.

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