Posts tagged Newsletters
Autumn 2020

In the Studio: Elizabeth Catlett

While I was teaching overseas on a Fulbright Award last October, my client, Kyra Hicks, informed me that a sculpture her family had owned (and that I knew well) - Elizabeth Catlett's "Seated Woman" - had set a new auction record for the artist.

I had treated that sculpture earlier in the year. Kyra is a granddaughter of the original owners, and the purchaser was the St. Louis Museum. This event and my experience treating the sculpture have prompted me to share some thoughts on collecting and living with works of art and the challenges conservators face in preserving these works for future generations.

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Autumn 2018

Bugs in the Art!

Lately, they seem to be everywhere, including in works of art. Whether found in private collections or leading institutions, insects appear to be taking advantage of global warming and thereby putting works of art at risk. 

Also, due to the increased number of international traveling exhibitions, the ability of insects to travel quickly from one end of the globe to another has risen dramatically. Such was the case recently when a group of contemporary paintings arrived from overseas for an exhibition at a noted NYC gallery. Upon opening the shipping containers, art handlers discovered insects in the plastic wrapped paintings. It was at that point that we were called in to inspect and to propose a solution. 

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Yuri YanchyshynNewsletters
Winter 2016

An Art Work’s Environment

The January snowstorm in New York City, with over two feet of snow, brought back memories of the winter of 2015, which was particularly challenging for many art collections in the Northeast. During that period, an 18th century Diego and Evans English tall case red japanned clock had suffered significantly, and we were asked to conserve it. Today, after conservation, this beautifully painted object is prominently installed at the Museum of Fine Arts, Boston. Its ordeal, however, brings up a wide range of environmental issues that impact all works of art, irrespective of object, type, or medium.

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Yuri YanchyshynNewsletters
Autumn 2013

What Wood Is That?

The identification of old woods is part of everyday life in the studio, and the examples we see can be difficult to recognize with certainty. Recently we were asked to conserve a beautiful and intricate parquetry panel whose design featured many different veneers. Since there were a few missing sections, we examined the veneers in situ to determine appropriate matches for replacement.

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Mark DieterichNewsletters
Spring 2013

Gilded Frames

Many times when viewing paintings, drawing and prints, it is impossible not to notice how much their frames add to the esthetic experience. This happened to me recently, while viewing the alluring exhibition "Impressionism, Fashion, and Modernity" at the Metropolitan Museum of Art. 

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Autumn 2012

Peinture en Bois

Marquetry is often considered the zenith of the cabinetmaker's art. The ingenuity required to conceive and piece together intricate designs made of various types of wood frequently yields breathtaking results. Unfortunately, objects decorated with marquetry require particular care and are quite susceptible to conservation issues. There is nearly always such an object in the studio for treatment. 

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Yuri YanchyshynNewsletters
October 2011

Furniture Condition Checklist

The beginning of autumn is a good time examine your furniture collection for early signs of wear, and to prepare for the upcoming entertaining and holiday season. The following short checklist can assist you. 

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Yuri YanchyshynNewsletters
January 2011

An English 18th-Century Japanned Cabinet on Stand

A private collector in New York City recently brought in a beautiful English cabinet on stand with a delicate Asian-inspired design crafted in gold leaf on a black japanned ground for treatment. This piece was truly extraordinary; we had noticed one of similar quality in a famous European collection. 

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