28 July 2009

Richard BUCKNER (British, 1812-1883) Study of a Roman (1830s) Oil on canvas Signed and inscribed centre left 'R Buckner, Rome', and titled verso 'No.2 Study from a Roman Model' Image size: 62cm x 50cm (24½ x 19½ in). Currently unframed. Comment: A fine and very striking portrait by this highly accomplished artist. Status: The painting is in completely untouched and original condition. Currently undergoing a 'thorough' clean and restoration to remove c.180 years of dirt, which we are confident will reveal this stunning portrait in all its original glory; canvas will also be re-stretched. Guide Price Band: £8,000-£10,000 See commentary below and Draft Biography

Harry van der WEYDEN (American, 1868-1952) La Mortala, Italy Oil on canvas board Signed, inscribed and dated lower right 1924 Image size: 29 x 39 cm (11½ x 15¼ in) Currently unframed. Comment: A typically attractive coastal scene by this very accomplished American artist Status: Currently undergoing a 'light' clean and 'mild' restoration Guide Price Band: £6,000-£8,000 See commentary below and Biography	Harry Sutton PALMER, RBA, RI (British, 1854-1933) The Ancient Oak Watercolour on paper Signed lower right, 'H Sutton Palmer' Image size: 44 x 61cm (17¼ x 24 in) Currently unframed. Comment: A charming landscape by this very well-known and widely exhibited watercolour painter. Status: Currently undergoing a 'light' clean and 'mild' restoration. Guide Price Band: £4,500-£5,500 See commentary below and Draft Biography

18thC BRITISH SCHOOL Portrait of the composer George Frederick Handel (1685-1759) Sanguine pen and wash on paper (17?9) Inscribed 'HANDEL 17?9 LM?' lower right Image Size: 12.5 x 17.5 cm (5 x 7 in) Comment: We purchased this portrait of Handel at a major auction house as we suspected it may have been drawn from life and therefore be both rare and of historical significance. There was no further provenance. Status: Shortly to be subjected to forensic scanning to seek to establish the date of the inscription (possibly by a later hand); then the ink, inscription, backing card and glue (image sheet currently 'laid down') will be carbon dated; prior to the image paper being removed from the backing card, cleaned, and de-foxed; prior to re-framing. Guide Price Band: Not applicable until forensic testing complete. If proven to be drawn during Handel's lifetime we can then state with some confidence that it was drawn from life and is therefore of historical interest and of some value. Watch this space! See commentary below

Since many of our clients lead busy professional lives, we will be pleased to bring work to your office or home for viewing (London & Home Counties), by appointment, and with no cost or obligation to purchase.

A Look Behind the Scenes:
Enhancing works to museum-quality standards

The four works shown here are currently undergoing the added value process to which all Albany works are now subject - the objective being to raise all the works we offer to museum-quality standards.

We will not include these works for sale until this process is largely completed in a few weeks time but we thought you might like to see a preview and to understand what the process involves, which is intended to be of direct value to our clients.

We have included a provisional 'Guide Price Band' and three of these works can be reserved for a non-returnable deposit of £200 provided the final price falls within the 'Guide Price Band' indicated (if not a full refund will be given). Alternatively you can express interest on any of these four, if you so wish, in which case we will deal with this on a 'first-come, first-served' basis recognising that a paid deposit reservation will take precedence.

Adding Value

We attach a great deal of importance to what we buy (we only buy what we really like) and we then add value by a process which involves research (the picture, artist, likely price); conservation (cleaning and/or restoration); framing; and further research to prepare the artist’s biography. All of this takes considerable time and effort - but time and effort that our clients appreciate since it undoubtedly adds value to the work.

Conserving Oil Paintings

Oil paintings are generally presented in clear view, i.e. not under glass. They are therefore susceptible to smoke (particularly from coal fires in times past), heat, general dust and grime, nicotine etc. Most oil paintings will benefit from a 'light' clean every 20 years or so:

	In times past oil painting conservators used quite caustic chemicals and other materials which could result in permanent damage to a work. Today all good conservators invariably use very much gentler materials, the intention being that conservation will do no harm or permanent damage to the work and can be 'undone' by future generations of conservators, if necessary.
	Where the canvas has been become slack over the years, old oil paintings sometimes need re-stretching. This is generally a straightforward process.
	And occasionally a canvas will need re-lining, when the canvas has become damaged or lost its elasticity and become brittle. A new canvas is then affixed to the back of the old canvas - the removal of the old lining material and adhesive being a delicate operation that requires considerable skill, care, and precision.
	Albany works exclusively with highly skilled and experienced conservators so that our clients can be confident that their work is of the highest quality.

Conserving Works on Paper

Cleaning and restoring works on paper is in many ways more complex that conserving oil paintings. Works on paper are generally presented under glass. They are therefore less susceptible to some of the damage that can occur to oil paintings but, being essentially more fragile than oils, they have there own problems:

	Many works on paper have been laid down, i.e. glued to a backing material. Depending on the type of glue used, a general browning will usuallly occur after a period of time, thus damaging the work. Similarly the use of Sellotape is to be avoided as the glue degenerates and almost invariably leaves an unsightly mark. The task of separating the image paper from its backing and the removal of such marks requires the services of a skilled conservator.
	Brown or reddish spots, known as foxing, are frequently to be found on old paper or card. This is probably caused by mould, accentuated by acid and/or damp conditions, and can usually be completely removed by a skilled conservator.
	Rust spots (as opposed to foxing) are also often to be found. These are caused by the oxidation of iron particles introduced in the original paper-making process. These can also usually be completely removed by a skilled conservator.
	In extreme cases, such as The Portrait of Handel above, where no provenance is available and the work is potentially of historical significance, we may involve one of several forensics companies to undertake highly specialised tests and/or carbon dating.
	Many old works on paper will benefit from a 'light' clean. This involves washing and de-acidification in a bath of plain water, drying, and then testing for pigment fastness prior to any further localised treatment. Self-evidently this requires the services of a skilled and experienced paper conservator.
	Albany arranges such cleaning whenever advisable and works exclusively with highly skilled and experienced conservators so that our clients can be confident that their work is of the highest quality.

Framing

Framing is an essential part of presenting a painting:

	If the original frame is available and still sets off the work, we will refurbish the original frame in order to maintain the integrity and value of the work.
	Or we will select a contemporaneous frame, i.e. one of the correct period for the painting.
	Or re-frame the work in a slightly more modern and appealing idiom - usually very effectively. In such cases, we select high quality frames which are then hand-painted and hand-finished, using 13.75 ct gold leaf gilding.
	For works on paper, only acid-free, museum-quality mount boards are used.
	We include all previous indications of provenance on the reverse of the frame and attach our own label with a wax-seal.
	We believe our framing to be of the highest quality.

Best wishes

CHRIS NOEL-JOHNSON
ALBANY FINE ART

T: +44 (0) 1367 870961
M: +44 (0) 7799 691 692
E: chrisnj@albanyfineart.co.uk