Monday, May 24, 2010

Public Art Jawn

I just framed my first Steve Powers print!  This one was designed by the boss and a client and I love this primary yellow frame with it, I think especially because the color is not present in the art, but yet the value of the color is spot on.  (I guess he does know a thing or two after all ;)

The print, one of a very limited run of 300, was released just a few months ago and is based on one of the 50 murals in the greatest and most ambitious Mural Arts project ever.  Love Letters is a succession of murals by Steve Powers along the tracks of West Philly's elevated Market St line.  And they are f***ing amazing.  Please read about them here and here, or even in the New York Times or Wall Street Journal.

And for you out-of-towners, here's some of my other favorite walls, all images from

Philly is a great city for public art--did you know Philly has more public sculpture than any city anywhere, including European cities?  (Not sure I can back that statement up, but I am sure I've heard it said.) 

As I was looking over the accompanying book which documents the murals, I was pleased to find Zoe Strauss in the list of photographers (and other Philly geniuses, Adam Wallacavage, et al.). 

Steve Powers: A Love Letter for You

Zoe Strauss just completed her own great and ambitious public art project I-95, earlier this month.  Hers was a display of 231 photographs on the columns that support Interstate Route 95 in South Philly.  It was held the first Sunday in May every year for the last ten years.  The photos are up by 1 pm and attendees are allowed to take them down at  4 pm.  Prints of the photos are sold for 5 bucks each at a table near the front.  Totally accessible art.  This short video pretty well sums it up:

I snapped this while there this year.

And I bought 2 prints, both images of folks in my neighborhood (Bunny, the woman, was the first person I met on my block--she has since moved), to have something personal to remember the installation.

And then came the daunting task of framing them.  Ultimately I decided to suggest I-95 in the framing by floating the images on a concrete-colored mat, and then making sidewalls in a neutral metal frame to raise glass off the art.  (Sidewalls in metal are unnecessarily difficult in this simple design, but framers will appreciate the effort, and I wanted to show some love.)

It may seem as though I've gone off topic, but I really wanted to talk about both of these artists in the same post.  There is some overlap (and not just that I'm a total fangirl of both).

2 photos below are from Zoe Strauss's blog/flickr.

and below here a completed Steve Powers mural at S 60th St.

Wednesday, May 19, 2010

Tough Act to Follow

This is a signed and numbered vintage Chagall litho.  In every other situation, framing this would be the highlight of my week.  However, this came in the same week as the Lautrec original from the previous post.  In fact, it was brought in by the same client--we designed the two pieces in the same afternoon.

The image is called Bella's Wedding and is especially appealling to me as it contains a calf that "evokes Chagall's memories of his native Hasidic community outside Vitebsk. In the village, peasants and animals lived side by side, in a mutual dependence here signified by the cow.  For Hasids, animals were also humanity's link to the universe."   This motif is most dominant in his 1911 masterpiece, I and the Village (below).

Many other classic Chagall symbols appear in Bella's Wedding:  the sprig, the bird, and Bella, herself.  She was Chagall's wife and he painted several images of her that represent a perfect expression of love.

The Birthday, 1915

Bella's Wedding was framed magnificently in a 4" wide Bolshoi frame, pale blue silken mat, and distressed broken-bead fillet, and museum glass.  This piece will be given the prominence it deserves as a focal point the client's home.

Friday, May 14, 2010

Toulouse Lautrec: Beyond the Moulin-Rouge

Every item that comes through the shop is important.  Clients bring in their most cherished possessions and it is my job to preserve them.  Occasionally, items of such global import are brought into the shop that I am humbled just to be breathing air in the same room. 

A familiar client (who on a good day has a flair for the dramatic, but on this particular day also was shrouded in intrigue) laid on my design table a small crayon drawing.  He alluded to a recent exclusive private auction as we gazed together at this:

The image is that of a lady clown and a circus animal in the ring.  A small "TL" circled on the upper right.  Regular newsprint drawing paper.  Some erasures.  Very saturated colors.  A hand-rendering.  Before me was an original Toulouse-Lautrec drawing, authentication pending. 

I noted a few condition problems--one, that is mounted to chipboard (this is an antiquated style of mounting that WOULD NEVER be done today) and another, that it is stained with the fingerprints of the culprit who mounted this (directly under the clown)--but both of these could probably be easily taken care of by a paper restorer.  The client was unconcerned.  He was madly in love.

I confess to you that I was then unfamiliar with this work, but the client understood and explained to me the theme, the subject (even the clown's name), the artist's state of mind--and spoke with such passion!  I hung on every word and immediately after he left I went straight to work to discover more about this tender drawing.

Toulouse-Lautrec is best known for his lithographs of can-can girls and posters for the Moulin Rouge, but he did win some early acclaim for this circus-themed oil, cited by some has his first important painting:

Equestrienne (At the Circus Fernando) 1888

His love of the circus carried through to his time at the Moulin Rouge when a certain clownesse became his unlikely muse for a brief period between 1895 and 1896.  Cha-U-Kao, her unusual stage name, was perhaps intended to sound fashionably Japanese. Cha-U-Kao was French, although little else is known about her, and her name was actually a phonetic transcription of chahut-chaos, a popular and exuberant dance similar to the 'can-can'. Lautrec normally depicted Cha-U-Kao wearing her platinum blonde hair in a topknot, and clad in pantaloons and a yellow (always yellow!) chiffon ruffle as can be seen in the following five examples:

Cha-U-Kao was a performer at the Nouveau Cirque as well as at the Moulin Rouge.  A Boston Globe article explains the scene this way:  "The circus in late 19th-century Paris, like the cabarets, offered many kinds of fun, but not all of them were innocent. 'To take the little one to the circus' ('amener le petit au cirque') doubled as an underhand reference to sexual intercourse, and the female horse riders, or ecuyeres, were generally understood to be sexually available. Indeed, it was a sign of class to flirt with them, so they were always in demand among the wealthier men."

The grand party was over for Toulouse-Lautrec in 1899 when suffering from alcoholism and a mental breakdown, he was committed to a sanitorium by an intervening group of friends and family. 

It was there that he created an incredible folio of circus drawings.  There is some debate whether he created them just to prove his sanity to his doctors, or as an expression of his captivity.  (Interested parties should read this incredible thesis.)  There is also debate on whether he drew them from memory or from life, as a circus rehearsed nearby the sanitorium and it is suggested that Lautrec could have been taken on outings to watch and draw from life.  However, the images he created at that time of the clownesse, Cha-U-Kao, are undeniably from memory.

When researching these drawings online, I found conflicting numbers...some sources say there were 50 or more, some say 30, but most agree that a folio of 39 circus drawings was created then.  I ordered this book from amazon, not sure of what I'd find in it.

Toulouse-Lautrec's The Circus: Thirty-Nine Crayon Drawings in Color

When it arrived I scanned through it, and stopped short at page 36:

The introduction of the book explains that Lautrec gave all these drawings away shortly before he died (and he died a year after he was released from the sanitorium at age 36).  An intrepid collector rounded them all up for one brief, shining moment in 1953 to create lithographs, and then once again they were dispersed to the four corners of the globe.

I found in this book's collection 2 other images of our clownesse:

I think neither compares with the image on my design table, though I am completely biased, and by now you should be, too:)

Allow me to show you some details from the original:

see the crispness of line?

the faint erasures?
the saturated color?

the dainty gesture?  the delicate hand?

I hope these give you a sense of the artistry and sensitivity of the work. Just incredible.

Materials arrived, I prepared mentally for framing.  I would not touch anything and not use any adhesives whatsoever.

I built up sides with 2-ply mat as it was the same thickness of the chipboard.

Adhered mats to to 2 ply (not to chipboard), glazed with museum glass, and put on the loveliest frame--so evocative of a Parisian circus! And do note Cha-U-Kao's signature yellow in the bottom mat.

I love my job.

Upon seeing it, the client gasped with joy and reached for a chair.  He was thrilled, as I was to tell him how much I enjoyed learning about his piece and helping him to preserve and display it.  We embraced as now we each had a connection to the art and through that, to each other.  I showed him my book and he asked me to order another one for him.  We will both have dog-eared souvenirs of our unique experience.

Tuesday, May 11, 2010

Bon Vivant!

A break from the ordinary (though I have become quite accustomed to the extraordinary of late): an original Hunt Slonem painting walked in the shop this week!

If you are unfamiliar with this contemporary expressionist painter, then the youtube clip below should tell you everything you need to know about his unique personality and style.

But if you don't have 9 minutes to invest just now, let me give you the Cliff's notes: Hunt Slonem's paintings are in the collections of about 80 museums internationally. He is a collector himself of furniture, objects, homes, and tropical birds. If you follow no other links in this post, do click here for a photographic tour of his EIGHTY-NINE ROOM STUDIO in NYC.  (He is also well-known for throwing fabulous parties :)

Here is the original painting our client brought in for framing:

back view

Hunt Slonem paints several variations of very specific interests, Alfred Hitchcock among them. (also, Abraham Lincoln, rabbits, monkeys, birds, butterflies, and many others).  I grabbed this image of the Hitchcock/birds hallway from the studio tour linked above:

Our client knew immediately what she wanted on this recent addition to her collection:  a very ornate gilded frame, Castillano, by Larson-Juhl.  At nearly 4 inches wide and adorned in the most incredible trellis-like carving, I think it is something the artist himself would have selected. 

C'est magnifique!