Tag Archives: fineartrestorers.com

Frances Langford Portrait Reveals Story of Early Fame

Posted on by

When curator Chessy Ricca of Stuart’s Elliott Museum contacted Alchemy Fine Art Restorers to bring a portrait of Frances Langford (1913-2005) back to its full measure of beauty, it gave Kate Wood of Alchemy Fine Arts the opportunity to restore a painting that embodies multiple aspects of America’s entertainment heritage.

It also hit close to home. Although Langford entertained fans around the world, her heart was fond of Florida; and two decades after her death, she remains a beloved figure on the Treasure Coast.

Frances Langford by Charles E. Rubino before being professionally conserved by Alchemy Fine Art Restorers.
Portrait of Frances Langford before conservation.
Airbrushed portrait of radio and movie star Frances Langford after professional conservation by Kate Wood of Alchemy Fine Art Restorers.
After cleaning and repairs by Kate Wood.

Kate Wood carefully conserving other fine art paintings from the Elliott.

“It was an honor to help save this lovely painting. The tears and pressure dings were so deep that the canvas had to be removed from its stretcher bars and lined with a fresh canvas to stabilize it. After a deep clean and some major repairs, Frances Langford’s beauty and star power really emerged.”

Kate Wood, owner and lead restorer at Alchemy Fine Arts

The Purpose Behind the Painting

Examining the portrait, Kate recognized that it was designed as a magazine cover. Not only was there plenty of blank space around the main subject, but the artist also left pencil strokes along the canvas edge to mark the placement of design elements.

Cover illustration is a familiar field to patrons of the Elliott. The museum featured a comprehensive collection of similarly purposed works by Norman Rockwell and his mentor, J.C. Leyendecker in 2022-2023. That show helped foster an appreciation of the role magazine illustration played in the evolution of fine art technique. The above portrait of Frances Langford fits into that narrative, not only as an example of early airbrush work, but also as a precursor to the pop art portraiture of later artists.

However, because it was unsigned, the specific artist and publication behind this painting remained a mystery. To help solve it, Kate enlisted her husband — writer Greg Leatherman — to fill in the gaps. His research revealed interesting details about this portrait in relation to Frances Langford’s ascent to fame.

Langford and Rudy Vallée in a publicity still from the Miami Herald on 21 Jun 1931.

Discovering a Star

Born in Lakeland, Florida, Frances Langford’s career took off early in 1931 — when she was still just sixteen years old — after famed crooner Rudy Vallée heard her on a Tampa radio station. The affable megastar invited Langford to sing on his radio program at WNBC New York (chaperoned by her mother). Aside from a knack for introducing new talent to his massive audience, Vallée was also a keen advisor who guided Langford through early business decisions, such as turning down the first offer she received and holding out for better terms.

Langford’s captivating voice and physical beauty made her a crowd pleaser. Typically backed by radio orchestras, she performed on stations across America, and in December 1933, she hosted her own radio special on WNBC. It was the first of many.

Discovering an Artist

Frances Langford was featured on the cover of Radio Guide in June 1935. Founded by the Hearst publishing empire, the useful guide combined radio schedules with celebrity news. Today’s readers know this influential weekly by its modern name: TV Guide.

Rubino from Air in the Realm of Art; Paasche Bulletin W7-38.

One of countless magazine covers Langford graced, it’s of interest here because it carries the signature of Charles E. Rubino (1896 – 1973). Rubino served as the art director for Hearst Publications in New York for many years and created covers for Radio Guide from at least 1935-1937.

The Italian-born Rubino was not only a talented illustrator, but he also helped change the way magazines looked by demonstrating that the airbrush was perfectly suited to magazine illustration. The artist’s considerable skill with this tool was undoubtably a deciding factor when Radio Guide switched from black and white cover photos to Rubino’s full-color portraits in February 1935. Across the next two years, Radio Guide would feature Langford for three of these covers. As Greg would soon discover, these covers were the keys that would unlock the mystery behind the restored portrait.

Unsigned Langford on the October 31, 1936, cover of Radio Guide.
Langford by C.E. Rubino on the June 08, 1935 cover of Radio Guide.

Charles E. Rubino’s signature from the June 1935 cover of Radio Guide.

Silver Screen Inspiration Behind the Portrait

The painting featured in this post was inspired by one of Langford’s first big movie roles. As a publicity piece, it’s emblematic of how the Golden Age of Radio and the studio system of Hollywood intertwined during the Great Depression.

In the 1930s, performances on both the airwaves and the silver screen were turning singers like Bing Crosby, Dick Powell, Alice Faye, and Rudee Vallée into huge crossover stars. Like them, Langford’s radio success led to her own movie roles. This led to her being one of an elite group of performers awarded stars on the Hollywood Star Walk for both film and radio.

Still from Broadway Melody of 1936.

Having already appeared in a Broadway show and two short films, Langford burst into movie fame in August 1935. That’s when America first saw her perform her signature song, “I’m in the Mood for Love,” in Paramount’s Every Night at Eight. The melodic standard proved so popular that other artists rushed to record their own versions. Several of these charted in 1935, and it’s since been covered by countless performers — but in the hearts of movie lovers, the song will forever be associated with Ms. Langford.

MGM studios built on the publicity around Langford’s performance by casting the young starlet as herself in Broadway Melody of 1936, which was released just seven weeks later. The jazzy musical did well at the box office and was nominated for three Academy Awards. Once again, Frances Langford delivered a fabulous performance.

In light of this success, Radio Guide selected Langford to grace another cover of their publication. This time, the artist used her appearance in Broadway Melody of 1936 as a model. As seen below, it resulted in the painting now housed at the Elliott Museum.


The February 15, 1936, cover of Radio Guide. Frances Langford’s ruby red tuxedo and romantic songs made her the perfect choice for a magazine issued the week of Valentine’s Day.

In her top hat and tails, Frances Langford performs “Broadway Rhythm” in Broadway Melody of 1936.

Everybody Knew Her Name

After The Hit Parade, Radio Guide readers voter Langford their top female star of 1937.

Every radio network and movie studio in America wanted Langford. By the time 1936 ended, she appeared in two more movies for Paramount and another for MGM. She did all this while starring on CBS radio’s Hollywood Hotel, which led to a 1937 supporting role in Warner Brothers’ film version, and a lead role in Republic’s The Hit Parade, which reprised her top hat look.

Even MGM’s Our Gang got in on the Langford craze when two of its child stars sang “I’m In the Mood for Love” in a short comedy that combined elements of Every Night at Eight and Broadway Melody of 1936.

Langford’s Lasting Impact

Radio Guide printed a photogravure of Langford in August 1938.

The portrait restored by Kate Wood was painted at a pivotal point in the career of Frances Langford. Working with the biggest stars of her time, she recorded numerous American standards, appeared in several classic musicals, and made millions laugh and cry. But she was far more than a celebrity.

During World War II, Langford struck an emotional chord with American G.I.’s while performing with Bob Hope’s U.S.O. Troop. She also wrote a Hearst newspapers syndicated column about her visits to wounded soldiers.

Langford’s smoldering voice, natural charm, and elegance fueled her career as a radio host, actor, and singer well-into the 1950s. She was also intelligent. In 1955, as rock and roll took over the radio waves, she went into semi-retirement in Florida where she enjoyed fishing and boating on the Indian River.

In Martin County, Langford is remembered as a generous philanthropist who founded the Outrigger Resort at Jensen Beach in 1961 (along with husband Ralph Evinrude). Thanks to Langford, the resort drew fans (and luminaries) from around the world. She performed there for decades.

See the Restored Portrait

As we communicated these discoveries about how Radio Guide‘s cover portrait of Langford fit into the arc of her early fame, curator Chessy Ricca of Stuart’s Elliott Museum shared some exciting news of her own.

The restored portrait featured in this post will be part of Elliott Museum exhibit celebrating the life of Frances Langford later in 2024. This welcome news comes as no surprise to those who’ve visited the museum’s Outrigger Café and Exhibit, which already features selected objects from her life. We’re curious to see what other forgotten treasures Ms. Ricca finds in the Elliott archives.

As regular patrons of this invaluable institution, the team at Alchemy Fine Art Restorers encourages you to visit this special exhibit and pay tribute to the “Florida Thrush,” aka the “Songbird of the Air,” aka the “Moonglow Girl,” and the “Sweetheart of the Fighting Fronts,” the unforgettable Frances Langford.

Alchemy’s Tips for Working with Art Professionals

Posted on by

Kate Wood restoring a natural fiber wall hanging.

Kate Wood restoring a natural fiber wall hanging.

Across two decades as an art teacher, master conservator, and oil painter, Kate Wood has learned how to get the most out of interactions with art professionals, including proven best-practices to avoid common pitfalls.

Kate shares some of her essential tips for working with art professionals below. Whether you are looking to sell a work of art, commission a portrait, restore an object, or just find a frame that compliments your art, some basic rules from the owner of Alchemy Fine Art Restorers can save you money and ensure that you get the best possible results.

1. Getting an art appraisal:

When getting an art appraisal never sell your art to the same person who appraised it. Neither should you allow the appraiser to sell your art for you. Insurance companies require a expert third party opinion to determine the value of your art. Any monetary interest the appraiser has in the value of your art can undermine the integrity of your appraisal.

When an appraiser offers to buy or sell your work, right after quoting you a price, it’s a conflict of interest. In fact, no reputable appraiser would ever do this.  “Oh, that painting? It’s worth $500. I’ll give you $350.”

If this happens to you, run the other way. The painting might be worth twice that.

Reputable appraisers charge a per piece flat rate, not a fee based on a percentage of the appraised value nor an hourly rate. Neither should they release any appraisal information without prior consent of the client.

The condition will affect the value of your art. For example, if a painting is dirty, ripped, or poorly conserved, it is worth less than one in good condition.

When the painting was created in the context of the artist’s life, as well as its subject, will also govern its value. Certain periods in an artist’s production tend to be more sought after than others.

An appraisal is not forever. It reflects the current, fluctuating art market. A document sale price even five years old is outmoded, and five years from now, your latest appraisal may completely change.

Consider getting a second opinion if the person appraising your work also offers to restore/conserve the object. Unscrupulous persons might claim a third rate painting has a high value in order to convince a client to purchase expensive restoration services. Finding the value of a work is often simple. Numerous auction record sites are available online, including a free, searchable site anyone can use at Blouin Art Sales Index.

If your exact object is not included in the records, find one that matches it as closely as possible in size and condition. Also, auction values fluctuate, so use the most recent record, preferably within the last five  years. Note: Auction records represent a wholesale price. Dealer records are a retail price.

2. Selling art on consignment:

When selling your art through a gallery, always get the agreement in writing. It could take months or years to sell a work of fine art. It’s important that you have a contract in place that explains the exact terms of  your agreement with the gallery.

For example, a gallery owner is tasked with appraising your signed Matisse print and asked to confirm that it is real in order to sell it. He is unable to get the work authenticated, but he sells it to another dealer for $5000, while implying that it could be real. Then, he tells you that it is definitely a fake and that he has an offer on the table for $1000. You agree to sell for $1000 (though the piece has already left the gallery). After the gallery collects the verbally agreed upon 35%, you end up with a mere $650 in store credit (which you may never use), while the gallery owner clears $5000!

And what about the dealer who paid $5000? He already has a buyer lined up for his fake Matisse print. Read this site for more on commonly faked prints.

Example #2: a gallery owner believes that your art would sell faster if it looked older. Without asking for our permission, he sprays an artificially darkened varnish over the entire painting. If his ploy to trick the buyer doesn’t work and the piece doesn’t sell, the art is irreversibly compromised. This is unacceptable on many levels.

These cautionary tales would not happen with a legitimate contract in force. Such contracts are standard practice in reputable galleries and you should never deal with any gallery unwilling to provide one. This applies both to the professional artist selling original work and the collector selling  pieces by another artists.

To protect yourself, always require an original copy of a signed contract that says exactly what percent of the final sale the gallery receives. Most galleries charge a 30% to 50% commission for the sale of your work. Specify that if the art is sold at a discount, the difference come out of the gallery owner’s share, not your share. Stipulate that any alterations to the work, including restoration, varnishing, changing out any elements, etc. require your pre-approval. Also stipulate that you shall receive a signed receipt of the transaction between the gallery and the buyer, showing the exact final sale price. Each of these things can protect you from unscrupulous practices.

Before you trust a gallery to sell your artwork on commission, photograph your object in good light, documenting the appearance / condition. Include close-ups of the exact frame you delivered. That way, should the object suffer any damage at the hands of the gallery owner, you hold proof of its original state. Always take measurements of both the image size and the frame size and document these.

Make copies of all receipts or histories of the work. This is its provenance and is very important to the sale of a work of art. Give the dealer the copies of receipts. Upon final sale, give the originals to the buyer. This way, if the art work is damaged or even “lost” by the dealer, you have proof of your ownership.

3. Commissioning a portrait or mural:

When working with a commission artist or muralist, ask to see a portfolio their work. Ask a portrait artist if they would like to photograph your subject. They may have creative ideas or scenes that they like to work with. Whatever you do, don’t use flash photography. It flattens the subject and steals color. If you hand an artist a yearbook photo, that’s what you’ll get. If it doesn’t look good in a photo, it won’t look good on canvas.

If you are going to take a photo for the artist to work with, try to set the scene. Think in terms of background. Natural places, good lighting and being at the same level as your subject are all important. A phot0 looking down at a dog on a tile floor, for example, might make for a cute snapshot, but it’s not a very good subject for a portrait painting.

Agree to a price up front and expect to pay a deposit. This protects you both. It’s fine to request a pre-signature viewing. If you like it, have them sign it. If there is something you would like changed, this gives you a chance to make that request. Don’t accept the work as final until you love it.

When working with a muralist, ask for a to-scale sketch that you can approve. The sketch won’t be as detailed as the finished product, but it will give you an idea what your wall will look like. If you are working from a reference photo, make sure it is what you really want. Artists may have a hard time translating, “I want this field, but could you put two horses in it?” If that is what you want, get a good photo of two horses in a field.

4. Working with an art conservator:

When working with an art conservator, look at their past work. Any good conservator has a portfolio of the type of projects at which they excel. Always be sure you understand the processes they will use to conserve your work. Don’t be afraid to ask questions if they are using technical terms or jargon. Always get an estimate of the work be done and what it costs, just like you would if you were taking a car in for repairs.

For example:

Flora Oil Painting, 16″ x 20″

Work to be done: lined, cleaned, missing areas in-painted, UV protective gloss varnish

Price: $300

Tax: $18

Total: $318

Deposit: $159

Due on completion: $159

I do not recommend paying the entire amount up-front. A deposit of half should suffice. Leaving half of the job unpaid is an incentive to the conservator to complete the task.

Asking for a rough deadline is fine but a definite date may be difficult to pin point. The cleaning may expose previous repairs that require more attention. If a painting took two hundred years to come to a state of disrepair, it will take more than two weeks to turn that around. Be patient. It’s worth the wait. It’s not unreasonable to ask for a mid-restoration photograph, however, to see progress on your work. I recommend this.

It’s also wise to take your own “before” picture, so you can compare the state of disrepair with the results you paid for.

5. Framing art:

Choosing a frame for your art can be a confusing task. There are so many choices and ways to frame an artwork. First, it is very important to frame to the best advantage of the artwork, not to match the sofa. The art will (hopefully) far outlive furniture trends. A frame is like a dress on a woman, the more befitting the dress, the prettier the woman. The more flattering the frame, the more beautiful the artwork.

One general rule off thumb: don’t use a frame darker than the darkest dark or lighter than the lightest light in the painting. It’s a distraction from the piece.

It’s equally important to ensure the longevity of the piece. Works on paper should be framed in an acid-free environment. Reputable frame shops offer this alternative. It may cost a little more, but it ensures the long-term stability of the paper. Works that were framed many years ago were most likely framed with acid content mats and cardboard. They should be replaced with acid-free backing and matting. If you look a the beveled edge of the matting and it is yellow or brownish, it has an acid content. All artwork and photos should be framed so they don’t touch the glass. Mat board or spacers will keep humidity from making the artwork stick to the glass. Pastels should be framed with a reverse bevel, so any dust that falls from the drawing will fall behind the mat and not dirty the overall look of the framed work.

It is important to frame oil paintings, not just to beautify the work, but also to protect them. I discourage papering the backs of oil paintings. Many framers do this to present a finished look and hide the screws and clips. Over time, this acid content brown paper degrades and falls into the back of the stretcher bars. The paper also traps humidity which gives mold and mildew a nice, comfy place to thrive.

Framing can be expensive. Every step from creating the frame’s finish to fitting is a specialized skill. Good framing is worth the cost, as it will serve the artwork for the span of its life, allowing many generations to enjoy the piece. However, this does not mean you necessarily need to purchase the most expensive frame in the shop. If the framer shows you a frame that is $76 per foot, ask to see less expensive options as well. It could be that a frame at $22 or $12 per foot, which has the same essential profile, will flatter the work as well. For example, not every framed work of art needs gold leaf gilding, when metal leaf will suffice. Even some painted finishes are attractive. Purchase the frame that fits both the art and your budget.

We hope you’ve enjoyed these tips for working with art professionals. In summary, don’t be afraid to ask questions and always get it in writing!

Nose Job for a Fair Maiden

Posted on by

Repairing a Ceramic Sculpture

Recently, Kate Wood of Alchemy Fine Art Restorers was fortunate to work on repairing a ceramic sculpture after it suffered a minor accident. Here are some before and after pictures from her repair of this Fair Maiden. Both model and sculptor remain unknown, but the bust fuses artistic skill and natural beauty in a manner well worth restoring.

BeforeAfter

 And here are some photos of this gorgeous ceramic sculpture from different angles:

Before: Close UpAfter: Close Up

Before: Second Close UpAfter: Angled

 

Alchemy Fine Art Restorers in Stuart, FL, provides a full range of world-class art conservation and restoration. With over a decade of conservation experience and over two decades as a working artist, owner Kate Wood is a highly skilled technician. She expertly treats paintings on canvas, as well as conserving pottery, leather, porcelain, woven fabric, paper, ceramic sculpture, and wooden objects. Kate is the only conservator on the Treasure Coast with the advanced painting, sculpting, and workshop skills to restore such a range. She cares about your precious objects and takes pride in returning them to their full measure of beauty.

Contact Alchemy: If you own an object in need of professional attention, make an appointment with Alchemy Fine Art Restorers in Stuart, FL. Estimates are always free and we even provide local pickup and delivery!

Owner: Kate Wood; Phone: (772) 287-0835; Email: katewoodartist@comcast.net.

Website: fineartrestorers.com.