Eli Wilner & Company Announces Winners of 2016 Museum Frame Conservation Grant Awards
Eli Wilner and Company announced the recipients of the 2016 Museum Frame Conservation Grant Awards in five distinct categories, selected by a panel of distinguished jurors: Carrie Rebora Barratt, Annette Blaugrund, Mark Cole, Rebecca E. Lawton, and Alex Nyerges. Winners receive a complete frame restoration provided by Eli Wilner & Company
New York, NY, October 18, 2016 --(PR.com)-- The Winners of the 2016 Museum Frame Grants are:
18th Century:
Colby College Museum of Art in Waterville, ME for the restoration of the original frame on Lady Judith Maxwell, c. 1790 by Gilbert Stuart. This carved and gilded frame has significant losses to the gilding, chipped gesso, and some cracks in the wood, especially along the sight edge at the spandrel. These issues were likely the result of poor storage conditions early in the frame’s life. Period frames, when not on view, are stored in the museum’s climate-controlled, secure, onsite storage facility. Grant proposal prepared by Lauren Lessing, Mirken Director of Academic and Public Programs, and Andrew Gelfand, Anne Lunder Leland Curatorial Fellow.
Early 19th Century:
Fenimore Art Museum in Cooperstown, NY for the restoration of the original frame on Samuel Nelson, 1829 by Samuel F.B. Morse. In addition to various surface and structure issues, this water-gilded, cove is missing its four large carved and burnished water gilt softwood acanthus and scroll corner ornaments. A companion portrait frame in the museum’s collection will serve as reference for recreating the missing ornament. Grant proposal prepared by Erin Richardson, Director of Museum and Library Collections.
Late 19th Century:
Georgia Museum of Art, University of Georgia, in Athens, GA for the restoration of the frame enclosing Still Life with Pears, 1888 by Stanley S. David (a.k.a. De Scott Evans). This unique frame, that has various structural and surface losses, is painted to mimic a craquelure surface and is essential to understanding the trompe l’oeil element in the painting which extends onto the face of the inner frame. The work was discovered in 1990 and is believed to be the only one of four versions to have retained the original frame. Grant proposal prepared by William Underwood Eiland, Director, Sarah Kate Gillespie, Curator of American Art, and Tricia Miller, Head Registrar, Betty Alice Fowler, Grants Writer and Assistant to the Director.
Early 20th Century:
Pennsylvania Academy of the Fine Arts (PAFA), in Philadelphia, PA for restoration of the original frame enclosing Tanagra, 1909 by Thomas Anshutz. This reeded frame has a tarnished finish, open miters, and missing corner straps, among other losses, requiring overall restoration. The poor condition is particularly noticeable in the context of the gallery where it hangs, alongside large format portraits by Beaux, Eakins, Sargent, and Chase. Grant proposal prepared by Mary T. McGinn, Paintings Conservator.
Mid 20th Century:
Columbia University Libraries in New York City, NY for the restoration of the original and likely artist-designed frame enclosing Portrait of My Sister, Ettie Stettheimer, 1923 by Florine Stettheimer, in addition to faithful replication of this frame for two other paintings: Portrait of Myself and Portrait of My Sister, Carrie W. Stettheimer, that collectively comprise a triptych. The three paintings will be in a 2017 Stettheimer exhibition at the Jewish Museum in NYC before continuing to another venue in Toronto and possibly Paris. Grant proposal prepared by Roberto C. Ferrari, Curator of Art Properties, and Carole Ann Fabian, Director, Avery Architectural & Fine Arts Library, Columbia University.
In addition to frame restoration, the above institutions will be entitled to a private tour of the Eli Wilner Studio during the frame restoration process, for staff members and museum donors. The costs of crating and shipping will be covered by the grant.
Eli Wilner & Company has completed hundreds of complex frame restorations for private collectors and public institutions. Increasingly, curators, dealers, collectors, and aficionados embrace the aesthetic and historical value of period frames. With a 10,000 square foot studio, the Wilner expert carvers, gilders, and mold-makers are able to complete a remarkably wide range of projects, including those that smaller studios cannot accommodate.
The award is provided by:
Eli Wilner & Company
1525 York Avenue, New York, NY 10028
212-744-6521
Fax: 212-628-0264
www.EliWilner.com
18th Century:
Colby College Museum of Art in Waterville, ME for the restoration of the original frame on Lady Judith Maxwell, c. 1790 by Gilbert Stuart. This carved and gilded frame has significant losses to the gilding, chipped gesso, and some cracks in the wood, especially along the sight edge at the spandrel. These issues were likely the result of poor storage conditions early in the frame’s life. Period frames, when not on view, are stored in the museum’s climate-controlled, secure, onsite storage facility. Grant proposal prepared by Lauren Lessing, Mirken Director of Academic and Public Programs, and Andrew Gelfand, Anne Lunder Leland Curatorial Fellow.
Early 19th Century:
Fenimore Art Museum in Cooperstown, NY for the restoration of the original frame on Samuel Nelson, 1829 by Samuel F.B. Morse. In addition to various surface and structure issues, this water-gilded, cove is missing its four large carved and burnished water gilt softwood acanthus and scroll corner ornaments. A companion portrait frame in the museum’s collection will serve as reference for recreating the missing ornament. Grant proposal prepared by Erin Richardson, Director of Museum and Library Collections.
Late 19th Century:
Georgia Museum of Art, University of Georgia, in Athens, GA for the restoration of the frame enclosing Still Life with Pears, 1888 by Stanley S. David (a.k.a. De Scott Evans). This unique frame, that has various structural and surface losses, is painted to mimic a craquelure surface and is essential to understanding the trompe l’oeil element in the painting which extends onto the face of the inner frame. The work was discovered in 1990 and is believed to be the only one of four versions to have retained the original frame. Grant proposal prepared by William Underwood Eiland, Director, Sarah Kate Gillespie, Curator of American Art, and Tricia Miller, Head Registrar, Betty Alice Fowler, Grants Writer and Assistant to the Director.
Early 20th Century:
Pennsylvania Academy of the Fine Arts (PAFA), in Philadelphia, PA for restoration of the original frame enclosing Tanagra, 1909 by Thomas Anshutz. This reeded frame has a tarnished finish, open miters, and missing corner straps, among other losses, requiring overall restoration. The poor condition is particularly noticeable in the context of the gallery where it hangs, alongside large format portraits by Beaux, Eakins, Sargent, and Chase. Grant proposal prepared by Mary T. McGinn, Paintings Conservator.
Mid 20th Century:
Columbia University Libraries in New York City, NY for the restoration of the original and likely artist-designed frame enclosing Portrait of My Sister, Ettie Stettheimer, 1923 by Florine Stettheimer, in addition to faithful replication of this frame for two other paintings: Portrait of Myself and Portrait of My Sister, Carrie W. Stettheimer, that collectively comprise a triptych. The three paintings will be in a 2017 Stettheimer exhibition at the Jewish Museum in NYC before continuing to another venue in Toronto and possibly Paris. Grant proposal prepared by Roberto C. Ferrari, Curator of Art Properties, and Carole Ann Fabian, Director, Avery Architectural & Fine Arts Library, Columbia University.
In addition to frame restoration, the above institutions will be entitled to a private tour of the Eli Wilner Studio during the frame restoration process, for staff members and museum donors. The costs of crating and shipping will be covered by the grant.
Eli Wilner & Company has completed hundreds of complex frame restorations for private collectors and public institutions. Increasingly, curators, dealers, collectors, and aficionados embrace the aesthetic and historical value of period frames. With a 10,000 square foot studio, the Wilner expert carvers, gilders, and mold-makers are able to complete a remarkably wide range of projects, including those that smaller studios cannot accommodate.
The award is provided by:
Eli Wilner & Company
1525 York Avenue, New York, NY 10028
212-744-6521
Fax: 212-628-0264
www.EliWilner.com
Contact
The Zagoren Collective, LLC
Glenn Zagoren
646-355-0848 x1
www.zagoren.com
Glenn Zagoren
646-355-0848 x1
www.zagoren.com
Contact
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