One of Rory McEwen's Leaves *
(I want to know which shade of green he used to get this colour - ideas anyone?)
So it's all change here in the gallery this week! At 8am this morning I witnessed two of our David Nash sculptures leaving on the back of a lorry - The Sliced Cedars. A sad moment in the morning drizzle (below), and the end of a season. I am glad that the exhibition closed during Spring though, as it's a time of new leaves and colour and that makes me feel more hopeful.
So less about what is going on outside the gallery and more about what's happening indoors! Like a chrysalis, there is a lot going on inside our walls. We've been having lots of deliveries... all paintings. The Rory McEwen show is starting to take shape as we get work from Kew, the family and from private collections. It's really exciting to be part of this. The paintings arrive all wrapped up in white opaque bubble wrap and we have no idea what's in them. Unwrapping each one if like unwrapping a very expensive and delicate chocolate truffle. It's a million Christmas' all at once. I have never seen so many beautiful pieces of work in such a short space of time. I felt like crying. It's going to be an extraordinary show - real food for the eyes and soul.
Laying out the paintings for the Rory McEwen show
As a point of interest, I feel that now is a good time to talk about frames. Many of the frames around Rory McEwen's work are now roughly 40-60 years old. Some are amazing - my favourite one is a bamboo piece which looks very 1970s! However, what I really wanted to talk to you all about is how frames deteriorate over time and what we can do as artists to prevent this.
A close up on one of Rory's Fritillarias*
*Please note that these pieces might not be in the exhibition. We are still selecting work. This is how we work - we select a whole collection of work, and then lay them all out and decide which paintings work well together in each gallery space.
*Please note that these pieces might not be in the exhibition. We are still selecting work. This is how we work - we select a whole collection of work, and then lay them all out and decide which paintings work well together in each gallery space.
Now I know all us good artists invest in proper frames with acid free boards and mounts and a proper seal at the back. Rory probably did too. But something I have discovered since working in this show is what happens to frames over time and how badly they can age. I had a chat with a conservator about frames as I was interested to know more about them and how damage occurs. Apparently, the biggest killer is just neglect on the owners part. Even acid free materials don't last forever. This brought back memories of me working in a museum and the fact that we have to repackage objects every few years because acid free tissue paper loses its effectiveness. I guess the same goes for frames.
So apparently we need to check our frames every 5 years for damage and bugs. We need to pay particular attention to the seal at the back, the state of the mount and for rusty nails etc. Even if acid free board has been used, this still needs replacing roughly every ten years. So, if anyone owns a piece of artwork which they love and value, like a classic car - you need to maintain it. I think there is a bit of a mentality in many of us that once you have parted with your hard earned cash for a piece of art, one feels that they don't need to pay anymore. They own it and it's theirs, but like a classic car or a house - you need to keep injecting the cash now and then to keep it looking good and structurally sound.
Bugs are the worst problem - they get in all sorts of ways, but it's especially bad if the taped seal at the back is broken. Acid boards are pretty bad too, as are woods that emit a lot of acidic gas. Apparently pear wood is the best wood you can use as it emits less gas and lignins and isn't on a CITES list unlike other woods.
A close up on one of Rory's decaying leaves*
*Please note that these pieces might not be in the exhibition. We are still selecting work. This is how we work - we select a whole collection of work, and then lay them all out and decide which paintings work well together in each gallery space.
Jessica - can you not commission some new frames in time for the exhibition?
ReplyDeleteI'm thinking that if that's all it takes then surely the owners and/or RBGKew will want to show the work off to its best advantage - particularly if it's also in the catalogue.
Thanks for your comment Katherine - as usual it's a good one! There are a number of problems in doing a re-frame. Firstly the time it takes to re-frame hundreds of paintings and the need to get this exhibition change over completed as speedily as we can. I am sure you'll agree it drags on for long enough! We might have been able to build this into the programme (e.g. doing it months prior the change), but many of the paintings have come from afar and from all over the place (Europe and lots in Scotland, Wales and London) which would have meant a lot of travel for our conservators and curators. This would have further escalated costs in both time and money.
ReplyDeleteSecondly, we would have had to find somewhere to store them all - we simply just don't have the space. I guess we also thought that the frames would all be ok. It was an assumption on our part really that people would take care of their art work.
The third problem is there is a lot of about the provenance written or stuck onto the back of the frames, and this would be tricky to deal with - you'd need a conservator really so that the frame was restored rather than replaced. Many of the pieces are also on Vellum - not easy to work with.
The good news is that not all the frames are in a bad way. A massive tulip petal arrived in the early hours of the evening yesterday from Chatsworth and that was in superb condition and came with it's own conservator and two men with white gloves. Many of the items from the family are also in superb condition. It's just the odd one here and there, and as mentioned - we aren't hanging them all so these ones might not go in.
Anyway - I thought I'd write this piece because it came to my attention that some people genuinely don't check their frames regularly and it made me sad as an artist. I felt frustrated to discover that it doesn't matter how hard I try as a painter to preserve my work in a good frame. Once my painting has sold the responsibility passes onto someone else and who knows what could happen.
Hope this helps..?
Fabulous outline of the many challenges faced in mounting an exhibition such as this.
ReplyDeleteCommenting from the perspective of 'picture framers concerned with standards' - your explanations about keeping the original frame and the need for preservation of the very important labels at the back of the works is a timely one, even when so much more knowledge about using correct framing procedures is in the public domain than ever before.
Best wishes with the show as well as the dissemination of pertinent information.
Thanks for your comment Elwyn - I am glad you found this post informative and insightful. It's amazing what we find on the backs of these frames. To me - the frame tells the story. We have newspaper cuttings, exhibition labels, receipts (for the sale of the painting and the framing), letters and notes.
DeleteThe other fascinating thing is the style of the frames themselves. One of my favourite ones is a pseudo-bamboo one! It is so 1970s it's unreal. It is like something from Only Fools and Horses. I hope it gets included in the exhibition just for the frame!
Jessica, This is very interesting information, and something I have never thought about before. I can understand how the situation for Kew is quite complex. We enjoyed the David Nash exhibition when we were there recently, but it sounds like the Rory McEwen show will be fantastic. The close-ups of his work are beyond belief!
ReplyDeleteI am glad you saw and liked the Nash show. It was certainly nice to have David's artwork in the garden space - just added another layer of curiosity to the greenery.
DeleteGlad you liked the post and that it has enriched your thoughts on framing. Will you be able to see the Rory show here in Kew? I am not sure about this, but I think they are thinking of touring it. Please don't quote me on this though! I will keep you informed as I get information.
Perhaps this situation re deterioration of framing materials is a useful one for collectors and artists to observe.
ReplyDeleteI always reccommend to Collectors that frames be dismantled and all card, tissue, paper, foil backing, and hard board aspects, be be renewed regularly at intervals depending on conditions. As well as this, the mitred corners of frames need to be checked, as this can provide four avenues for tiny bugs to find their way in.
It is worth while explaining to collectors, that there is an on-going responsibility. Initially this comes as a bit of an additional pressure, but most collectors want to preserve the work for generations to come and so appreciate knowing about it. I offer them a maintance check list.
If a work is sold in a gallery, I request the art dealer to stress the neccessity of this issue.
I have of late taken to offering a pair of the white conservation gloves with each unframed work, which people really do like to receive.
There is a lot we can do as we go along, to ensure our works are well preserved. The best news for us as artists is that we now have the power to conserve, and if works of art on paper and vellum are well looked after in pristine condition, they can last indefinately.
Thank you for your comment Coral - great to hear from you and how you deal with this issue about frames. I think it's marvellous that you hand out a check list and talk to your buyers about the importance of maintenance. I agree that not only is this important, but most people are very appreciative of the advice. I can understand though, that a lot of artists don't want to do this in case it puts buyers off. But I feel in a broader sense that if someone wants a piece of work then they will want to know how to look after it.
DeleteI guess the responsibility to educate starts with the artist and it's up to us to pass on knowledge down the chain to galleries, collectors and to first time buyers. It might not be 100% full-proof, but at least we can say we tried. We can all make a difference. I am so pleased to hear how you work around this subject Coral, your practice is music to my ears. Especially as I love your work and I would never want to see it in a bad state in 50 years time!
Thank you for posting this Jessica.
ReplyDeleteI don't think any of us will mind if you just put ALL of the paintings up - you don't have to leave any out *just saying*.
It's great to see this sneak preview from you and hear a bit about what happens behind the scenes. So excited about this exhibition!
I'd like to join Martin in thanking you for your previews of the Rory McEwen show, which have been magical and inspiring. I have no doubt that just about every contemporary Botanical Artist has been eagerly viewing these updates. The fact that you have been given the authority to share this information says everything about you Jess. Thank you for the privilege and taking us on this journey.
DeleteHa-ha! Thanks Martin - great to hear from you and I am really pleased you have enjoyed the little update. Maybe I can squeeze another one in. Gosh I wish I could photograph all of them, but it would never give the pieces the justice they deserve. It's a flesh thing isn't it? - I am sure you know what I mean. I am hoping that a lot of people who can't get to the show will get the book... Fingers crossed! The book does give them the space and environment they require without the dreadful glare I keep getting from the glass. Anyway - looking very much forward to seeing you in the gallery.
DeleteThanks Coral for you comment - I am really glad you like these little updates. It might be of interest to you and other readers that my colleague has written a fabulous piece for the Kew website about Rory McEwen and John Lindley - his great grandfather. I will update you all about this once it has gone live. The piece is far more professional than mine! It'll probably go 'live' towards the end of May - Chelsea week - gosh hasn't that come round fast?