Warren O’Connell serendipitously wandered into my studio about 12 years ago, on a whim that he might find a job as a graphic designer. It was a Monday, and as the studio is closed on Mondays, I wasn’t available to meet with him. But there was something special about Warren, so I asked him to come back on Wednesday. That’s the day our 12-year association began.  

As mentioned, Warren has a degree in graphic design from the Art Institute of Indianapolis. He has designed client signs, walls, posters, and logos. By incorporating color, shape, fonts, and his sense of imagination, he has been instrumental in satisfying clients with difficult projects that most frame shops wouldn’t tackle. For Warren, no project is without a solution—and a beautiful one at that.  

Heading up the matting and framing department at Easter Conservation Services, Warren’s primary responsibilities are listening to clients to determine their vision, and then presenting options that deliver on it with excellence. He knows when he hears the satisfied “ahh” that it’s the right frame and mat. When clients come in looking for guidance, Warren begins with a concept and builds from there. Asking thoughtful questions about placement, style, favorite color, and what matches the art, a selection is made effortlessly.  

Always wanting to improve his craft, Warren deepens his knowledge by traveling to places like Detroit, Chicago, New York, Nashville, Rome, and Florence to observe methods museums use, incorporating new styles into his own work.  

One of his biggest accomplishments is matting and framing eight Ansel Adams photographs for New York Health and Hospitals. The project was done on site, and all materials were flown in. There was no margin for error in measurement in the mats, glass, or frames. Instead of the project taking a week to complete, as originally planned, Warren finished in three days thanks to his close attention to detail and insistence on making sure every last facet was attended to.  

There’s nothing that Warren hasn’t been able to creatively frame, whether it’s tiles, jerseys, or golf clubs, to silver necklaces and even wedding dresses. Building frames and cases is never a problem; it’s a challenge he welcomes. I’m personally excited to see how the future unfolds for our business with the exceptional service and expertise Warren provides for our clients.

-Jean Easter

In early March, I joined Easter Conservation Services as a paintings conservator, after quite a journey. I have loved art since I was a child, taking as many classes as my schedule allowed, both in and outside of school. I dreamed of art school, but wasn’t sure it was the right path. After touring the University of Delaware, I stumbled upon their art conservation program. I felt an instant connection and determined my career path.  

I double-majored in art conservation and art history. From specialized studio classes to natural history internships, I had many unique experiences. I learned how to mix paints, use egg tempera, paint with beeswax, and even created a miniature fresco wall. I dipped my toes in several areas, from preventative to glass, but knew I wanted to be a paintings conservator. I applied to Northumbria University’s painting conservation master’s program, and in the fall of 2021, I flew to the United Kingdom to begin.  

My time in England lasted two years. It was intimidating to travel to another continent alone and start a new life there, especially as one of the youngest students. While many emerging conservators take gap years to gain work experience before entering graduate programs, I chose to continue straight after my undergraduate studies. I knew I was in for a challenge, and Northumbria delivered that in many ways. Everything I thought I knew was put to the test: my knowledge of organic chemistry, my writing ability, and the way I learned. Hand skills were taught on sample mock-ups. Eventually, it was time for us to test our training on the real thing.  

The first painting I treated for practice was a 1970s work by Louise Jennings. She was, at one point, the United Kingdom’s oldest living trans woman, as well as a World War II veteran who fought in the Battle of Dunkirk. I found the piece in an antique shop in Newcastle. I bought another on eBay for more practice. I also completed two work studies: a week in a UK studio with my classmates, where we all worked on a large painting together, and a summer at a studio in the States, where I received more valuable tutelage. 

Before I knew it, my program approached its end. The final task was to complete my dissertation, a whopping 150 pages and nearly 15,000 words. Following graduation, I attempted to find a job where I was living, which, as any conservator can tell you, is a nearly impossible task. It certainly proved so for me, and when the circumstances of my life changed, I eagerly leapt at the chance to expand my horizons, applying to jobs nationwide. Finally, I moved from Maryland to Indiana to join Easter Conservation Services.  

The importance of a conservator’s training cannot be overstated. Restoring a painting without the proper education can lead to irreversible damage. I am continually learning from my peers and seeking guidance from those who have worked in this field longer than me. The safety of the art is paramount. Now more than ever, art is what will carry us through these troubling times. The conservation of pieces for generations to come is something I am proud to be a part of. 

-Claudia VanderClute

In the last issue, we explained the difference between restoration and conservation.  Now let’s talk about matting and framing. Works of art on paper are susceptible to  damage from light, pollution, tears from being handled, smudges, as well as dirt and oil from hands. Additional damage may come from the acidic environments they have been placed in. Chemicals in acidic paper and adhesives can cause paper to darken and become brittle. Where the sight edge of the window mat has come in contact with the art, there may be a mat burn presenting as a dark line around the perimeter of the window on the art.  

Hinging is another area of concern. Masking tape, cellophane tape and most other tapes can cause damage to art by leaving marks, making the taped area brittle and  discolored, which may be expensive to remove. The print should be directly adhered to the back mat with Japanese paper and wheat starch paste. This allows the print to expand and contract freely in response to changes in the environment. Next comes the window mat. It should be adhered along the long edge of the back mat with acid-free tape, and fold like a book cover over the print. The image of the print should be what is seen through the window, while the outer perimeter of the print should be under the mat. 

Backing boards are the final component of the matting and framing system.  This is an independent, rigid, acid-free board acting as the backbone, stiff enough to keep the above components in place with no bowing. Material may be acid-free foam, or corrugated or honeycombed board–in short, mat prints with four-ply or thicker mats, alkaline pH of 7.5-10, composed of 100% cotton rag or chemically purified wood pulp. Use UV glass or UV plexi, using spacers if necessary to keep glazing from touching the artwork, as well as a dust seal of acid-free paper or polyester or acid-free tape. Consulting a conservator will ensure your paper and canvas artwork is framed in a way that minimizes potential damage and protects its value. 

-Jean Easter

People always refer to repairing objects or paintings, or works of art in general, as restoration. While that term may be correct, as the meaning is “a return of something to a former, original, normal, or unimpaired condition,” conservation and restoration are not interchangeable words. In truth, the concepts are diametrically opposed.  

Conservation allows that the process of making a work of art whole is reversible, without harming the original artwork. If removal of the repair is necessary, it will not affect or incur damage to the art. It is also photographically documented, and a written treatment report accompanies the work. While future generations may enjoy and appreciate said art, new technologies may arise which will be able to better “repair” the art, thus allowing for a treatment to be undertaken to improve the appearance, structure or stability of the original damage. Conservation materials are tested for fading, colorfastness, adhesive strength, heat and cold resistance, and are generally not available to the general public.  

Restoration, on the other hand, provides no such protection and in most cases is not reversible. There is no record of what is used, and the removal or reversal of restoration material may be detrimental to the value of art (and in most cases is). Restoration materials are not made to be reversed, nor are they stable. Restoration paints may fade over time, varnish may yellow, and adhesives may not sustain their integrity.  

Conservation does not devalue artwork, but restoration does. By educating clients, I have been able to teach them about the value, quality and need to preserve their artwork in a responsible manner for future generations. Conservators have an organization of which is mandatory to be a member; that organization is The American Institute for Conservation of Historic and Artistic Works, or AIC. Before working with an art restorer or conservationist, check to see if they are a member. Better still, check to see if they are a Professional Associate or Fellow in the AIC–these are peer-reviewed levels within the organization.  

Once an unqualified restorer has irreversibly damaged your art, unfortunately, there is no going back. If you are entrusting your art to someone, make sure they have the qualifications, experience and knowledge to provide you with a satisfying outcome.  

-Jean Easter