Alex Katz (American, b. 1920) is renowned for his vibrant visual language, which blends realism and abstraction, with a strong emphasis on form and color. With more than 200 solo exhibitions and international acclaim, Katz has made a significant mark on the art world. While he is celebrated primarily for his paintings, Katz has also made important contributions to printmaking and drawing, where his signature style is executed with precision and fluidity.
The print prior to treatment.
Recently, we had the pleasure of treating The Dog, a captivating aquatint of a French bulldog sitting attentively, brought to us by a client who was carefully reviewing his collection and noticed it needed some care. Katz’s love for dogs is a recurring theme in his work, capturing their personality and presence with the same intimacy and clarity that he brings to his human subjects.
Another dog by Katz: Alex Katz, Sunny #4, 1971. Gift of Mrs. Harry Lynde Bradley, M1975.143. Photo by John R. Glembin. © 2019 Alex Katz/Artist Rights Society (ARS), New York, image courtesy of the Milwaukee Art Museum.
Upon examining The Dog, our conservators observed that the sheet showed signs of acid staining due to long-term contact with non-archival housing materials. Additionally, there was age-related discoloration, likely caused by light exposure. Fingerprint stains were scattered across the surface, and foxing was visible on the verso. Paper residue was found in the top left corner of the verso, and the surface was covered with a light layer of particulate film.
A close-up of the print.
Our conservators began the treatment process by photographing the sheet for in-house documentation, both before and after the conservation work. The surface was cleaned using a textile sponge and crumbled eraser to remove particulate matter and grime.
Our paper conservator used a textile sponge and crumbled eraser on the print.
Paper residue was carefully lifted using a methylcellulose poultice and a microspatula, and persistent stains were retouched with pastel to restore the artwork’s appearance.
Gently retouching with pastel.
Finally, the sheet was treated with a non-aqueous deacidification spray to introduce an alkaline reserve into the paper, helping to protect it from further deterioration.
The print after treatment.
Our client also shared a few words of advice for those beginning their own collections:
“Buy what you like. The first print in my collection was “The Dog,” signed by Alex Katz, 11/35. I bought it in 1979 at The Metropolitan Museum of Art gift shop/bookstore. I had originally gone to purchase a couple of postcards and ended up leafing through a rack of show posters and prints from the museum's collection. I found it odd that The Dog was there—it was an original aquatint, not a reproduction. I didn’t know the artist at the time, but the image captivated me: a bulldog, sitting stiffly, with no movement, rendered in tones of gray, floating in a midground of white paper. I thought it would make a great souvenir, and one that I could hang in my apartment.
I never consciously decided to start collecting, but I continued adding works that I found interesting. Over time, I became more discerning about what I bought—only works that I truly liked and that felt unique. I focused on original prints (etchings, silkscreens, woodblocks), and occasionally limited-edition photographs. These media were reasonably priced and easy to frame, making them accessible for a growing collection.”
Further Resources on Collection Care
For more tips on how to care for your collection, check out our previous articles:
Conservation-Grade Framing and Display: A Word from the Pros
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