ART EXPERT: Gallerist and fine art conservation specialist Paul Gratz is shown in his studio in Doylestown, Pa. The painting is by A.V. Greene.
By Thomas Kelly
Paul Gratz is a gallerist and fine art conservation expert. After years representing artists in his New Hope, Pa., gallery, Gratz moved his gallery and conservation studio to Doylestown, Pa. Caring for and restoring paintings is one of his specialties. He is also an expert on the New Hope School of painting and Pennsylvania Impressionism.
When and where did your journey in the arts begin?
My journey in the arts started in Fairview Village, Pa., where I became an apprentice to a painting conservator and gilder. Gilding is applying gold leaf to a surface such as a frame or plaster feature. I also decided to study at the Pennsylvania Academy of the Fine Arts in the early 1980s.
I originally went to Temple University for liberal arts. I was really into sports, and art was not for real men. I was never exposed to art, but at Temple I had an art history course that opened my eyes to a whole new world and I was addicted.
I studied with three different conservators over a 12-year period. Each one had a specialty in certain areas. My first apprenticeship taught me gold leaf gilding and painting conservation. The second one taught me painting conservation and different lining techniques, mainly with wax resins and a hot table.
The third taught painting conservation and linings with a new product called Beva 371. Beva is a thermoplastic adhesive discovered by Gustave Berger in the 1970s. I also studied with Joseph Amorotico at the Pennsylvania Academy of the Fine Arts. Louis Sloane was a favorite teacher there and would help with suggestions on complicated conservation projects. Arthur DeCosta taught me different palette settings that helped with Inpainting. Inpainting means to reconstruct missing, damaged, or unwanted parts of an image to make it appear as it was intended.
Who were your early inspirations and early favorite artists?
I went to the Brandywine River Art Museum to see three generations of Wyeth exhibit when I was in my early 20s. I remember standing in front of Jamie Wyeth’s “John F. Kennedy” painting and it blew me away. He captured the compassion and feeling of the man so well. There was an older gentleman staring at the painting with me. We looked at each other and said, “How amazing.” It turned out that he was Gov. Thomas Kean from New Jersey. Jamie Wyeth inspired me to enter the world of art.
Some of my favorite artists are Andrew Wyeth, Caravaggio, Botticelli, John Singer Sargent, Nicolai Fetchin, Joaquin Sorolla, and Daniel Garber.
How does having an art gallery mesh with conservation of art?
Having an art gallery and conservation studio mesh together perfectly, as well as custom framing and gold leaf gilding. The business plays off all these angles. Someone may come in to have a painting treated and may end up purchasing a painting. Another client may purchase a painting and then bring in two from their collection for conservation. It all works together quite well.
We were also a founding member of the Society of Gilders, which began in New Jersey in 1986 — a group that had exhibitions of different gilding professionals, artists, conservators, frame makers, and suppliers. Our first exhibition was in Congress Hall located in Cape May. The second was an exhibition at the Newark Museum. The idea was to introduce the art of gold leaf gilding to the public. Gilding is a very necessary conservation tool that may fly under the radar for some.
Being an expert on Pennsylvania Impressionism, are you still surprised sometimes when you see a piece in person?
I always had a passion for Pennsylvania Impressionists. We specialize in artists from the Pennsylvania Academy of the Fine Arts (PAFA) and female artists for over 40 years. Many New Hope artists either taught, attended, or exhibited at PAFA. The wonder of my business is that I see many incredible works come to the studio that are far better than examples hanging in museums.
Cleaning and conservation of paintings is meticulous work. How long can it take for the restoration of a painting?
When we treat a painting, it usually will take four to six weeks depending on the condition of each artwork. Cleaning is very straightforward. We examine the paint surface under high magnification and ultraviolet light to see exactly what we are working with. Cleaning tests are conducted at the edge of the painting
to ensure the proper solution is safe
and effective.
Small cotton swabs are then lightly rolled over the surface using the best chosen solution. The process continues until no further improvement is observed. Each application is neutralized so as not to affect the paint layer.
A torn painting or paintings with cupping or flaking paint need consolidation. They also need lining or backing to a secondary support.
First, the painting is faced with Japanese tissue paper and a thin Beva 371 solution. Then we use a vacuum pressure hot table to join the painting, mylar, and fabric for our linings. The painting is face up, preventing damage to the impasto or brush strokes. Old linings done face down using wax and irons have ruined the paint layer of many paintings.
Once the painting is lined it can be cleaned and then given a separation coat of varnish and all paint losses filled and textured to match the original brushwork. Then the painting is repainted, with repainting limited only to the areas of loss. Then a final varnish is applied. We like to use the original stretcher if possible.
How pleased are the clients when they see the artwork after restoration?
The best part of my job is seeing how people react to the work we do. People are always delighted with the difference cleaning can make. Torn and ripped canvas can be put back together to be appreciated by future generations. I feel really good about preserving art.
What fight/struggle do you have regarding your art gallery and restoration studio?
The biggest struggle we face in the conservation studio and gallery is working on paintings that have been poorly “restored” in the past. Some restorers use a heavy hand and go too far in their over paint. This makes it hard to undo.
You recently discovered and have been a champion of “forgotten” Modernist female painter Peter Miller. How does it feel to be able to get her work seen and collected in the present time?
I have promoted artists from the PAFA and the New Hope School for over 40 years. The discovery of the Peter Miller Collection is the most important and amazing story I have ever came upon.
Peter Miller, born Henrietta Myers (1913-1996 ) was an American Modernist and Surrealist painter. Miller was an artist, a philanthropist, a mystic, master tarot card reader, and a woman of endless passion for nature, spirituality, and exploration.
Her artwork was infused and inspired by this immersion into the spiritual world. Every painting of Peter Miller’s is a story, reflecting her heart and soul.
She painted both in Pennsylvania and in Santa Fe, N.M., where she lived among the people of the San Ildefonso Pueblo. She gifted over 250 acres and her horse farm to the Brandywine River Museum Conservancy.
She was just exhibited in the “Miro and the United States” exhibition at the Miro Foundation in Barcelona, and recently traveled to the Phillips Collection in Washington, D.C.
Do you perform public restoration work? How far from the area have you traveled for work?
We have done many public conservation projects in the Delaware Valley area. Recently, Drumthwacket, the Governor’s Mansion in Princeton, and many churches and theaters as well. We have conserved many artworks throughout the United States from California to Florida,
Does the value of the artwork you handle fluctuate, or does it usually steadily increase?
The art market fluctuates like any market. The value depends primarily on the quality of a painting. Trends and taste change as does the value. In all these years I have found that buying the best example of an artist’s work is the best investment.
Do you have any contemporary artists you admire?
We do not handle much in the contemporary market, but I would say my two favorites are Post-Modernist Barkley Hendricks and portrait artist Kehinde Wiley.
What is on the horizon? What are you looking forward to?
Looking into the future we will continue to conserve works of art and I am still excited to find and discover new forgotten artists who never had their day.
To learn more, visit gratzgallery.com or follow Gratz Gallery on Instagram and Facebook.