2009
Participating Institutions
 
 
291. The Richmond Art Museum, founded in 1898, is a fine art museum with a permanent collection of American Impressionists, Taos School, the Hoosier Group, the Richmond School and other regional artists. They also have a significant collection of local ceramic artists including works by potters of the Arts and Craft Movement, the Overbeck Sisters and the Bethel Pike potters. The outstanding painting collection includes William Merritt Chase's "Self-Portrait: The Artist in his Studio" and works by Irving Couse, Childe Hassam, Pablo Picasso, and Guy Wiggins.
           

DeScott Evans
"Woman Examining Work of Art"
H. 36" x W. 24" Before

Barton Hays "Anna Finfrock"
H. 30" x W. 25" Before

DeScott Evans "Young Girl"
1888  H. 34" x W. 22" Before
           

During Cleaning

During Cleaning

During Cleaning
           

After Treatment

After Treatment

After Treatment
           
       


           
292. The Ragdale Foundation supports writers and artists in a retreat setting located on the grounds of Arts and Crafts architect Howard van Doren Shaw's 1897 summer home in Lake Forest, Illinois. The community hosts over 200 emerging artists in all fields. This oil is from the Foundation's collection and was completed by Sarah Van Doren Shaw, the architect's mother.

Sarah Van Doren Shaw "Ragdale Fountain"
H. 16" x W. 20" Before Treatment
           

During Cleaning

After Treatment
           
           


           
293. The Illinois State Museum, Springfield, Illinois is the owner of these five paintings. The right image is by one of the most influential artists in Chicago's art history, Rudolph Weisenborn (1881-1974). Weisenborn set the foundation for Chicago's early Modernism movement. It is unfortunate that a studio fire in 1922 destroyed almost all of his early drawings and paintings. His work combined both European Cubist and Expressionist influences with American Precisionism as seen in the work of Charles Sheeler. Weisenborn clashed with the established art scene in Chicago that routinely held juried art exhibitions. In 1922, he founded the Chicago No-Jury Society of Artists with Raymond Johnson, Carl Hoeckner and Ramon Shiva . The underlying premise of the society was, that "freedom from juries gives the artist liberty to develop individual ideas." (Taken from 2nd Annual Show Catalog, 1923) Weisenborn went on to become a WPA artist. His visionary work far exceeded the repetitious formulas consistent throughout most of the WPA work in Chicago. His mural, "Contemporary Chicago," at the Nettelhorst Elementary School, is the most important WPA mural in Chicago. I had the honor of treating the painting in 1997.

Rudolph Weisenborn "Untitled" 1959
H. 33" x W. 26" Before Treatment
           

During Cleaning

After Treatment
           

Antonin Sterba "Vacation Days" 1931
H. 48" x W. 40" Before Treatment

Joan Kempsmith "Up from the Beach" 1947
H. 34" x W. 28" Before Treatment
           

During Cleaning

During Cleaning
           

After Treatment

After Treatment
           

John Doctoroff "Study of a Young Man" 1925
H. 26" x W. 22" Before Treatment

Josephine Reichmann "Fishing Boats" 1931
H. 36" x W. 32" Before Treatment
           

During Cleaning

During Cleaning
           

After Treatment

After Treatment
           
           


           

294. The below oils are owned by the State Historical society of Wisconsin, Madison, Wisconsin. The left image is by G. P. A. Healy. Born and raised in Boston to impoverished parents, Healy was one of the best-known portrait painters of the mid to late 19th century. He also did occasional genre and historical subjects. In 1855, he established a home in Chicago from which he frequently traveled to the East Coast and the South to paint portraits of leading politicians and aristocrats, completing about 100 a year. After the Civil War, he went to Europe for 25 years but left at age 79 because of his disdain for the new turns of the Parisian art scene that included Impressionism.

The right image was executed by Robert M. Sully (1803-1855), the nephew of the great Thomas Sully, whose "Portrait of George Washington" is represented on Page 29. In 1854, Thomas Sully introduced Robert to Lyman Draper, director of the Society at that time, and a lengthy written correspondence flourished. Draper envisioned a state art gallery within the Society in Madison to house the portraits of Wisconsin governors, Indian chiefs, senators, representatives, and early settlers, thus creating a visual record of the formation of early Wisconsin. In 1854, Draper asked many artists to send images of their paintings in exchange for honorary membership in the Society. This is precisely how the Society acquired the George Washington portrait. Robert Sully replied to Draper's request by suggesting a painting tour of Wisconsin, proposing to paint the Black Hawk War battle grounds as historical documents. Draper answered by asking Sully to become the full-time Wisconsin State Historical Society artist. By promising official portraits to Wisconsin citizens, Draper raised enough money to bring Sully to Madison. On his 1855 trip to Madison, though, he unexpectedly died in Buffalo, New York. However, as a result of Sully's interest, the Society possesses a number of his works, including this image. The painting was painted ca. 1833 when the sitter was imprisoned at Fort Monroe, Virginia.

           

G.P. A. Healy "Gov. C. C. Washburn" 1870
H. 29" x W. 24" Before Treatment

Robert Sully "Wabokieshiek" ca. 1833
H. 30" x W. 25" Before Treatment
           

During Cleaning

During Cleaning
           

After Treatment

After Treatment
           
           


           
295. These four oils are owned by the Haggerty Museum of Art, Milwaukee, Wisconsin. The below left image is attributed to Jan Fyt (1611­1661). Fyt was a Flemish animal painter and etcher. Born in Antwerp, Fyt trained with Frans Snyders between 1629-31, during which time, at the age of twenty, he entered the guild of St Luke as a master. From then until his death in 1661, he produced a vast number of paintings in which the bold facility of Frans Snyders is evident. He left Antwerp for Paris in 1633, traveling on to Italy the following year, where he worked in Venice and Rome. Fyt excelled in the rendering of animal life in its most varied forms--the coat of deer, dogs, greyhounds, hares and monkeys, whilst in realizing the plumage of peacocks, woodcocks, ducks, hawks, and cocks and hens, he had no period equal,. His earliest dated work is a cat grabbing a piece of dead poultry near a hare and birds, belonging to Baron Cetto at Munich, and executed in 1644. The latest is a Dead Snipe with Ducks, of 1660, sold with the Jager collection at Cologne in 1871. The pictured oil is so darkened with discolored varnish it renders the work a bare hint of its intended appearance. The right image is by Adam van Noordt (1562-1641).
           

Jan Fyt "The Larder Invaded" ca. 1640
H. 18" x W. 22" Before Treatment

Adam van Noordt "The Stoning of St. Stephan"
ca. 1620     H. 17" x W. 14" Before Treatment
           

During Cleaning

During Cleaning
           

After Treatment

After Treatment
           
The below right image is by Gustave Doré. Doré was born in 1833 in Strasburg, Germany. His name originally was Dorer which he modified into the French equivalent. In 1848, at the age of fifteen, he began to exhibit sketches at the Salon. His earliest exhibited works were the "Battle of the Alma" in the Salon of 1855 and the "Battle of Inkermann" in the Salon of 1857 but his best picture, which first brought him into notice as a painter, was "Paolo and Francesco da Remini" in 1863. It was as a designer for book illustrations that the wonderful versatility of his genius became most apparent. The designs of Balzac's "Contes Drolatiques" are masterpieces. Preceded are illustrations for Dante's "Inferno" in 1861, Coleridge's "Ancient Mariner" in 1876 and Poe's "Raven "in 1883. Doré died in Paris in 1883. The left image is an oil on copper by Frans Franken II (1581-1642).
           

Frans Franken II "The Parting of the
Prophet Samuel from King Saul" ca. 1620
H. 6" x W. 9" Before Treatment

Gustave Doré "The Great Flood" 1865
H. 44" x W. 31" Before Treatment
           

 

During Cleaning

During Cleaning

           

After Treatment

After Treatment
           
           


Home, Page 60, 61, 62

 





Barry Bauman Conservation
Contact: Mr. Barry Bauman
1122 N. Jackson Ave., River Forest, IL. 60305
Ph.(708)771-0382  Fax.(708)771-1532
e-mail:barrybbc7@yahoo.com