early 1963 Les Demoiselles d'Avignon underwent
a more extensive conservation treatment by Volkmer.
The "old and weak" stretcher was
replaced with a sturdy expansion-bolt version then
because it allowed the gradual adjustment of the canvas
tension. Rather than remove the well-adhered glue lining and
replace it with a new lining, Volkmer decided to infuse
the existing lining
with a wax-resin adhesive mixture, which was ironed
into the back of the canvas
after removing the painting from the stretcher. The
rationale for this treatment was that the more inert
wax would penetrate the glue and render the canvas
less reactive to changes in temperature and humidity.
Enough wax resin was used that excess had to be removed
from the surface—and, indeed, some remains on
the surface today [see: Wax
Residue]. Volkmer's 1963
restoration apparently retained some of the retouches
done by Keck
in 1950, since there is no mention of removing or redoing
Also at this time the painting
apparently received a new frame and protective backing.
the frame upon acquisition are unfortunately sparse.
Contemporary accounts of the Doucet collection exhibition
at the Seligmann Gallery describe Les Demoiselles
d'Avignon in a
Legrain steel frame, the same frame in
which it arrived
at the Museum.
Pierre Legrain was the prominent designer and craftsman
who designed Doucet's
residence in Neuilly, where Les Demoiselles d'Avignon was
installed in the entrance to the studio. Since the
frame is no longer extant, it is possible that it was
when Legrain's Art Deco style went out of favor.