June 11, 7-9pm • Elida Scola speaks on the history of framing art, framing challenges and how to determine what frames are suitable for different art styles and periods. She helps her clients understand how framing affects their art.
This talk is part of a six part series of lectures on Art History & Art Appreciation designed to help people learn about art forms, and improve their appreciation and collection skills. It is one of the few opportunities to study Art History, outside of academic classes, offered in the East Bay.The presentations will be in an intimate atmosphere to encourage interaction with the speaker. Reservations recommended as space is very limited. To make a reservation contact the Bette Center or e-mail email@example.com. Non-members $10, Frank Bette Center members $5 each lecture.
Sponsored by tax and business accountant Lars Hansson, CPA, Alameda.
Frank Bette Center for the Arts
1601 Paru Street at Lincoln Ave., Alameda, CA 94501
510-523-6957 • www.frankbettecenter.org
Unfortunately one of our clients had a fire in their home. We were called to come to the house and meet with the insurance adjuster to give an estimate on restoring and reframing. Here is the before and after of one of the prints. We were so glad to help get the home back to normal!
We have a client who has a beloved collection of French landscape paintings by Georges Tiret-Bognet. Unfortunately they had languished in a dark dusty corner of the attic for many years. Fortunately, he knew just where to come to have them spiffed up! We made sure the frames were joined securely, buffed the finish with wax, and reassembled the art into the frames using acid-free backings to ensure their longevity. Now they are proudly hung in an attractive grouping on a small wall finished in Venitian plaster. Very Charming!
Packing & shipping cause more damage than you can imagine. Our friend Gloria O’Quinn, of Le Visage Salon & Gallery on Grand Ave, local Shona sculpture purveyor, received a beautiful three-foot tall carving of a woman, who lost her feet in transit from Zimbabwe.
‘Shona’ describes much of the population of the Bantu Nation living in Zimbabwe as well as the sculpture they create. The Shona have been sculpting stone for nearly a thousand years. Traditionally, items were produced for utilitarian purposes such as headrests, household items, and musical instruments. Then in the mid 20th Century, a new style emerged which was purely for artistic purposes; characterized by highly polished shapes sometimes offset by rough-hewn areas. The stone is serpentine or verdite, which ranges in color from black & green to yellow, orange, grey, red, and even purple. It is considered a semi-precious stone and is extremely hard. Before work begins, the sculptor must find the stone and explore its character. The stone tells the artist what shape it must have, and the artist can only work as long as they carry the image in their mind that the stone has conveyed.
Gloria’s sculpture had an unfortunate accident on the way to Oakland. So, the first step was to assess the damage.
Then we had to determine the composition of the sculpture. In this case, the stone had missing areas around the broken parts that needed to be recreated. Both raw surfaces at the break were sealed to prevent further damage and to prime them to accept the adherent.
Then both pieces were supported by custom devised sandbags and blocks, in preparation for the gluing. The adherent was a tinted epoxy that was then applied to both surfaces. The pieces were put together and left to dry in the custom-made support system. After the basic parts were back together, the missing areas were filled with more epoxy to build up to the final elevation.
When those layers were dry, the epoxy was smoothed and sanded to imitate the surrounding surfaces. To unify the entire repair, we mixed pigment matching the color and applied it with an airbrush. Then the surface sheen was replicated by fine polishing. A sealant was applied at the end to preserve the work.
This stone restoration was difficult to execute, due to the asymmetrical weight of the object. Very often the reason why articles break is a function of their original construction. If you have sculpture that is not able to rest evenly on the surface where it’s displayed, it could be worth remedying the problem before it causes the piece to fall. Some ways of accomplishing this is with build-ups on the item or on the display base using felt or museum gel. If there are any cracks, fissures, or particles around the piece, it is wise to attend to the problem before it gets worse.