Tag Archives: art conservation

Hotel Art: Egregious or Private Museum?

Hospitality Art is intended to expand the branding strategies of hotels and rental properties. It’s the art that goes into the guest rooms, restaurants, and lobbies of hotels. The art features the culture or interests of the area the hotel is located in. Hospitality art is traditionally done by artists living in the area of the hotel’s location.

Artwork for hotels is usually chosen by Interior designers that decorate them. Designers often have a stable of artists they work with for murals or mass-produced prints. The less they know about art the more common it is to use online platforms that fit the theme and color of the business. The art they use is decorative and rarely has high value unless it’s in a protected place in the lobby, behind the counter, for example. There once was an “exhibit” of the artwork that had been hanging on the walls of Super 8 Hotels that was going to be replaced. Guests at the show could “literally take the old hotel art off the wall home with them for free”.

The more experienced designers work with consultants from top local galleries or art dealers that specialize in the art of a place and its history. They work with established artists in the area or purchase work that is harmonious with the spirit of their clients’ collections through international art fairs or auctions. Ironically, having a piece of your art placed in the lobby of a building, no matter how expensive or famous the art or the company, is considered the death of that artist’s career.

Chain Hotels that feature “hospitality art” are not to be confused with the hotels that double as galleries or Museum Hotels that are funded by private art collectors. They are literally museums where you can immerse yourself in art. The Fife Arms in Scotland features 16,000 antiques and 12,000 works of art but with internet and free breakfast.

A few decades ago the term hospitality art was known as low-budget hotel art. It was famed for its tackiness. In the late 1980’s, one of the cofounders of Studio 54, Philippe Starck, decided to create a few boutique hotels in NYC giving people what he called “a curated experience”. They were unique, elegant, and a destination place on their own. These six hotels birthed a new kind of hotel that featured million-dollar collections like Steve Wynn’s Bellagio in Las Vegas before he lost control of the company in 2000.

The Hyatt Regency on Maui had a six million dollar Asian Art collection alone. It was better than many art museums. (The Hyatt hotels were turned over to mainland management group and later acquired by another corporation). It was a time when having your work in a corporate art collection had more status than being in a museum in the US.

Hyatt Hotel Kauai Indoor Art
Hyatt Regency Maui Resort and Spa sample image of the art collection (indoors) from the 1990s.

My personal experience with being commissioned to paint for luxury hotels was not pleasant. I lived in Hawaii for three years.

It was at a time when more art was sold off the Hawaiian Islands than in New York City. It was the crossroads of the Pacific and much of my older work was sold there to people in Japan and Australia.

Hyatt Regency Maui Resort and Spa sample image of the art collection (outdoors) from the 1990s.

I was commissioned to paint King Kamehameha’s treasures from his palace in Honolulu for the grand ballroom of the Hyatt Regency on Kauai. After I had left Hawaii, a huge hurricane (Iniki) caused 3 billion dollars in damage to the islands. It did a lot of damage to the hotel. Guests were evacuated to the lower level ballroom. I thought the two paintings would be safe. After all, they had put their guests in the same room as the art during the hurricane.

After the devastation, unskilled locals (not art conservators) were hired to clean up. They used pure bleach to clean the art (destroying it all) and even on a $50,000 chandelier which corroded the fine metalwork. (Crystals were falling off onto guests in the lobby).

Years later I returned to Kauai to get married and stayed at the Hyatt. I actually walked past one of my paintings and did not recognize it. It was destroyed. I wanted to repaint it or try and restore it. (I’ve had some conservation training in Italy). I put together a conservation plan/schedule for the hotel as they had a multi-million dollar art collection in their hotels in Hawaii.

I booked an appointment with the management and returned to the island to present it. They did not want to spend the money. The new management would rather use reproductions or mass-produced work than maintain the collection they acquired through their purchase.

I marked those paintings as “destroyed” in my Index of Artwork. I no longer have a photo of them recorded anywhere on my website or social media pages. Those paintings were commissioned for $35,000 each in 1990 and were terribly mistreated. I would never sell work destined for a hotel again, even a posh one.

Image: Museum Hotel, Louisville, Kentucky.

Uriel Dana profileUriél Danā has been a Professional Fine Artist 39 years and is a Contributing Editor on the arts and other subjects for two online arts magazines. Uriél is an Air Force Veteran and former USIA (State Department) Ambassador to the Arts.

She is a graduate of the 2016 Writers Guild of the West (Los Angeles, CA) Veterans Writing Project. A Contributing Editor on the Arts, Buddhism and Culture, Uriél contributes regularly to online and print magazines in addition to international journals. She has won many awards for her poetry and has been included in two anthologies.  For National Poetry Month in 2020, her poems were featured on San Francisco’s public radio station, KPFA.

A resident of the San Francisco Bay Area, Uri has lived on three continents and visited 44 countries.

Craquelure: History’s Crack In Time

Time and climate are not our friends when it comes to paintings or our skin. Craquelure is the network of fine cracks that appear in the skin of a painting. Many things can cause these cracks.

Sadly, much like the human face, cracks occurring in the paint layers or ground are usually indicative of age or stress. Instead of the scull, these cracks run through the layers of a painting. They take the form of a dense network of fine fissures which run in straight or slightly curved lines. Think laugh lines.

Sometimes they happen because of the oxidation process, others can occur within the dried and fully polymerized (non elastic) layers of paint.

In modern paintings, it’s usually the consequence of using poor materials.

Crazing is when the cracks appear in varnish but have not yet penetrated through the layers of paint. This usually happens when improperly prepared varnish mixtures have lost their bond. These types of cracks can usually be removed by removing the varnish.

Drying cracks are not the same as aging cracks.

Drying cracks include flame cracks that are small and short, often from paint dotted with a brush after painting.

Brushstroke cracks occur in areas covered with really thin paint. Lean chalk grounds cause spiral cracks and paints on thin canvas.

Grid cracks are found only in 19th and 20th century paintings and are caused by painting on smoother grounds.

Net cracks, named after their appearance, happen when the paint has been manipulated and applied in many directions on a structured canvas.

Drying cracks in varnish are pale and extend down through the paint as far as the ground, but not into the ground. They are always the result of painting technique.

Peace on Earth by Gage Taylor and Uriel Dana Craquelure
Peace On Earth (after Canigliano), 1995, by Uriél Dana & Gage Taylor. © 1995-2018 Uriél Dana

Craquelure can also be caused by mechanical stresses. Forgers, after using ovens to dry and harden oil paint can roll a painting over a cylinder.

Picture distortions create cracks when something has pressed the canvas from the back or even a forger using their fingers.

Aging of the picture layer, micro pores and micro-fissures (aka blanching), and stresses caused by tension and pressure can also cause cracking.

Cracks on wood panel paintings create garland cracks, diagonal cracks, spiral and corn ear cracks caused by pressure.

To make things even more complicated there are also artificial craquelure done for effect. I used a product called Vernis a Craqueler by a French company for an exhibit I did with the late Gage Taylor called “Alien X-mas” at Anon Salon in San Francisco. It is a two step process using oil and water based varnishes to get the effect. The painting was called “Peace on Earth”.

Art Credit: Mona Lisa by Leonard DaVinci, detail of craquelure

How To Sell An Old Or Valuable Painting

They were once known as the Three D’s of the auction world: Death, Divorce, and Debt. Auction houses have traditionally obtained their best merchandise as a result of these three disasters. Unfortunately, due to the economic times we live in, the Three D’s have evolved. We now have The Five D’s of Auction Houses and Forclosures: Death, Disease, Drugs, Divorce, and Denial.

For years I’ve modestly cleaned or repaired artwork found at auction as a way of conserving our heritage. It is common for people who visit my art studio to mention paintings they’ve inherited from a bereavement. They often want to sell their painting but have no idea how to go about it.

Recently someone mentioned a painting they had inherited. They believed it to be by the French Rococo painter and printmaker, Jean Honore Fragonard. The process to sell a Fragonard painting is the same step by step directions that I would recommend to anyone wanting to sell an older painting.

The most important thing required for selling any artwork is compiling its history. Known as the Provenance, it is the paperwork that confirms the authenticity of a piece. It is the history of how you came to own the painting. It may have been through an inheritance or a purchase from an auction or a gallery. However you came by it there will be a paper trail.

Provenance can also be in the form of exhibition or gallery stickers, newspaper or magazine articles, original sales receipts, a photo of the artist with the painting.

Having a written statement from an established authority on the artist or subject will help authenticate a painting. Sadly, the more common Certificates of Authenticity floating about on places like E-Bay mean nothing. They can be bought by anyone walking into a chain office supply store.

One of the best things you can do before attempting to personally sell your painting is to consult with an auction house. Every major auction house has a free appraisal day once a month. Find out what that day is for the Sotheby’s, Bonham’s, Christies or other auction houses near you.

Confirm that there will be someone available during the free appraisal day who specializes in the work you want to sell. For example, you would want to see the person who specializes in 18th Century paintings if you owned the Fragonard. On the free auction appraisal day bring your painting with you along with everything you have on the painting’s provenance. This greatly adds to the legitimacy of the work.

You may believe the paperwork on your art is already legitimate and feel defensive about having an auction house examine the piece. No one thinks your grandparents would lie to you, but whomever you inherited your art from may not have acquired their art from someone trustworthy.

Remember, auction houses hire experts in their field. They often know something that others may not. ‘The Fountain of Love’ featured with this article actually had two versions painted by the artist Jean-Honoré Fragonard. One version of the painting was a bequest in 1897 to the Wallace Collection in London. An untrained eye might think the second version that surfaced in the United States in 1996 was a fake. It wasn’t, and was later purchased and restored by the J. Paul Getty Museum, Los Angeles.

The auction house art historian will either verify a painting or tell you that it is not authentic. It is in the best interest of the auction house to find authenticated pieces of art. No one benefits from fakes. The artwork is tracked and documented every step of the way. They will also give you an auction estimate.

Auction houses will also give you a high and low auction estimate of what the piece is expected to sell for. They do this for you because they will want to sell the art for the commission. (You will pay a percentage of the sale and the buyer also pays a premium). For most people this is a better choice than selling privately. An auction house will catalogue & index it, and attract a large group of buyers that may be interested in your painting. They are set up to receive money in any amount from any country. They also have expertise in shipping, storage and insurance.

If you want to avoid an auction house, you’re going to probably require a little more than paperwork to sell directly to a dealer or private buyer. If your painting does not have its provenance, you will have trouble getting the high value everyone would like.

For a fee, you can sometimes hire an art broker who will occasionally research and acquire paperwork on a painting. Like auction houses, art brokers are always looking for inventory for their client’s wish lists. For this reason, do not have the work cleaned or repaired until your painting has been authenticated; art brokers will sometimes use trusted conservationists at a new owner’s request.

The next question people usually ask is, “who pays for a painting’s authentication?” In the case of the Fragonard example mentioned above, an expert or a gallery that specialized in 18th century art would have been contacted. The expert may ask for microscopic paint scrapings to be analyzed by a lab for date identification.

If the paint analysis comes back correctly dating your painting they may also take on the added expense of an X-ray, depending on its potential value. I’m referring to art brokers with high end clients who have wish lists for their collection.

If your expert has a collector in mind, they may have you bring the painting with them to a hospital for an X-ray. This is an expenditure of few thousand dollars out of pocket for the gallery.

I’d like to add that most art brokers will not go to this expense unless they have a contract with you. If you back out of that agreement you will get a bill for not only their expertise but the lab and X-ray expenses.

The price an art broker offers you will not be the price he sells it for, nor will you meet any of his clients. A broker is hired not just to help you but because they are a treasure hunter for collectors. Their job requires years of knowledge, is labor intensive and high risk. Without that expertise you would get a fraction of the price that may be offered.

An auction house will sometimes buy a piece to restore and sell at a later date if it is a high demand item that has not been cared for properly. They may have it restored and save it for an Old Master’s sale.

As a painter and an art collector, I’d like to add this final thought. Never keep a piece of art out of a false sense of history or loyalty. Art holds an energy that effects people whether they are conscious of it or not.Think of how tagging can make a neighborhood feel unsafe or how a sculpture in a garden can hold a feeling of peace and tranquility. If you do not love looking at it and look at it every day it serves no one.

Of further interest on this subject:

Featured Image: Jean Honore Fragonard ‘The Fountain of Love’ (Detail)