Bonhams Auction House Consults On E. Charlton Fortune On Condition And Restoration Of Oil Painting
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Bonhams Auction House Consults On E. Charlton Fortune On Condition And Restoration Of Oil Painting

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This example of research and exam is good due diligence for art collectors - See reports

This example of research and exam is good due diligence for art collectors - See reports

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Bonhams Auction House Consults On E. Charlton Fortune On Condition And Restoration Of Oil Painting Bonhams Auction House Consults On E. Charlton Fortune On Condition And Restoration Of Oil Painting Document Transcript

  • BONHAMS AUCTION HOUSEAND APPRAISERS CONSULTSON RARE AND VALUABLE E.CHARLTON FORTUNE OILPAINTING FROM 1918ABOUT CONDITION AND ARTCONSERVATION, PAINTINGRESTORATION(A valuable example of duediligence for collectors )Recently Bonhams and Butterfield ArtAuctioneers and Art Appraiser’s Scot Levitt,Head of Paintings Dept., called Scott M.Haskins at Fine Art ConservationLaboratories (aka FACL, Inc.) with the exciting find of a major oil painting by the CAImpressionist E. Charlton Fortune. It seemed to them important to establish the followingfacts and details (a lesson for your due diligence):1. Even though the painting is not signed, is there any doubt about theattribution?2. What condition is the painting in?3. Would the painting sell for more cleaned or should they sell it dirty?4. What were my thoughts about the original painting wrapped around theright side of the stretcher bars? Had it been made smaller?5. It would be appreciated by interested buyers to have a condition reporton letterhead and to know we looked at it.So here is the assessment of the painting, The Senora’s Garden, painted inabout 1918 – 1920, 30″ x 26″, oil on canvas on April 8, 2013
  • Generally in good condition. Prior to conservation, the following conditions existed:1. There was a small half circle tear (about the size of the end of a thumb) along the upperleft side that was previously repaired poorly. Fill covered original paint and theindentation and overpaint was not carefully applied.2. Random, (not during initial painting of artwork) later applications of paint wereapplied after the original painting had dried. These areas of repainting were located in allareas, most all colors. The paint is not of the same quality, solubility or consistency as theretouching on the damage. In a couple of test areas for removal, we found no damage tothe original paint below. UV fluorescence of these overpainted additions was viewed butit was not conclusive that they are a retouching not done by the artist. All of thisoverpaint was under the layers of grime and discolored aged varnish. With the level ofinvestigation that we performed (minimal) it is assumed that the repainting was a later re-working by the original artist.3. Overall was a very discolored layer of resin and grime that was well attached (perhapsvarnished over) into the deep recesses of the texture of the painting.4. The original stretcher bars are period and low quality (but common).5. The right vertical edge of the painting is wrapped around the old original stretcherbars. Given the use of original aged stretcher bars and given the original period frame inthe size of this painting, it is my opinion that the change is size was done by the originalartist. I don’t think this painting was exhibited during the artist’s time with a differentsize.6. The painting technique of this painting is entirely consistent with other works I haveknown over the decades by this artist. Also, the original labels in the artist’s handwritinghelp to confirm the authorship.Bonhams considered the cleaning of the painting and the reacquiring of theoriginal colors very important to the best selling price of this painting. So, thepainting was cleaned, varnished and the previous repair of the small rip was“refined.”
  • After ConservationI hope this review of some of the questions that should be asked whenevaluating a painting is instructional for you on the type of due diligence thatcan and should be done. We looked at this painting with UV in the process.Here’s a link to a page to teach you more about this invaluable tool you canlearn to use to help you determine and discover unseen details and conditionsthat will have an impact on your purchaseprice: http://tipsforfineartcollectors.org/blacklight-package/Questions about art conservation and painting restoration on your collection?Call Scott M. Haskins 805 564 3438
  • Art appraisal questions? Call Richard Holgate at 805 895 5121Follow us on Facebook at Scott M. Haskins, Fine Art Conservation, Tips forArt CollectorsHere’s the catalog information from Bonham and Butterfield