paintings 3

Before Restoration A painting was painted on both sides of the press board panel. The panel was painted on one side with a cubist style on the other a more realist impression. The client wanted the panel split and to transfer the images on to two separate stretched canvases. This is how the painting looked prior to any restoration the top of the panel was cracked and was being held together with tape. The paint was abrated and there were many losses.

after restoration a painting was painted on both sides of the press board panel. the panel was painted on one side with a cubist style on the other a more academic. the client wanted the panel split and to transfer the images on to two separate stretched canvases. this is the completed "Cubist" side of the panel after restoration. the painting was consolidated using reversible adhesives, fill, color and varnish.

before restoration a painting was painted on both sides of the press board panel. the panel was painted on one side with a cubist style on the other a more academic. the client wanted the panel split and to transfer the images on to two separate stretched canvases. this is the more academic side of the panel. much like the "Cubist" side this side had a loss of ground and paint due to abrasions. the perimeter of the composition was damaged in areas, the surface varnish had discolored.

After Restoration A painting was painted on both sides of the press board panel. the panel was painted on one side with a cubist style on the other a more realistic image .The client wanted the panel split and to transfer the images on to two separate stretched canvases. This is the completed academic side of the panel after restoration. T he painting was consolidated using reversible adhesives, fill, color and varnish.

Before Restoration A wooden panel which had endured the ravages of Hurricane Katrina. the panel was warped, the varnish layer was blanched. the ground and paint film were blistered and flaking. Miraculously the panel had not split.

After Restoration The painting was placed in a humidity chamber to bring the panel back to its original plane. The discolored varnish was removed and the painting was filled, inpainted and varnished.

Before Restoration This painting had been hanging on the wall when the chemically laden flood waters of Hurricane Katrina came into the house. The painting was hanging about five feet from the floor and the bottom two feet of the painting was exposed to the water. The paint film and ground were missing in large areas of the painting. The varnish and the previous restoration work was blanched or discolored. The front and back of the canvas was inundated with mold of various kinds.The original stretcher was moldy and warped.

After Restoration The canvas was removed from its stretcher. The painting was treated for mold, foreign matter was removed from the face and back of the canvas. A facing was applied to the face to protect the surface of the painting during various conservation processes. The old moldy glue lining was removed from the back of the canvas. The residual adhesive from the previous lining was mechanically removed. The painting was lined with a reversible adhesive, BEVA, onto a linen liner with a polyester interleaf. A new custom stretcher was fabricated and the painting was restretched onto it. Discolored varnish and overpaint was removed from the face. Areas of loss were filled, sealed, inpainted with reversible colors. a final protective coat of a reversible acrylic resin varnish was applied to the completed painting.

before restoration the painting was hanging for years in the kitchen of the clients grandmother. a mystery varnish had been applied to the face of the painting which had discolored. a cleaning test can be seen on the upper left corner of the painting.

after restoration old discolored surface varnish was removed from the face of the painting. areas were consolidated with reversible BEVA D-8 adhesive. areas of loss were filled, sealed, inpainted with reversible colors and a final reversible acrylic resin varnish was applied to the face.

before restoration this painting had been in the chemically laden flood waters of Hurricane Katrina. the paint film and ground were missing in areas of the painting. the varnish and the previous restoration work was blanched or discolored. the front and back of the canvas was inundated with mold of various kinds. the original stretcher was moldy and badly warped.

after restoration the canvas was removed from its stretcher. the painting was treated for mold, foreign matter was removed from the face and back of the canvas. the painting was lined with a reversible adhesive onto a linen liner with a polyester interleaf. A new custom stretcher was fabricated and the painting was restretched onto it. Discolored varnish and overpaint was removed from the face. areas of loss were filled, sealed, inpainted with reversible colors. a final protective coat of a reversible acrylic resin varnish was applied to the completed painting.

before restoration this painting had been in the chemically laden flood waters of Hurricane Katrina,the waterline is visable. the paint film and ground were missing in areas of the painting. the varnish and the previous restoration work was blanched or discolored. the front and back of the canvas was inundated with mold of various kinds. the original stretcher was moldy and badly warped.

after restoration the canvas was removed from its stretcher. the painting was treated for mold, foreign matter was removed from the face and back of the canvas. the painting was lined with a reversible adhesive onto a linen liner with a polyester interleaf. a new custom stretcher was fabricated and the painting was restretched onto it. discolored varnish and overpaint was removed from the face. areas of loss were filled, sealed, inpainted with reversible colors. a final protective coat of a reversible acrylic resin varnish was applied to the completed painting.

Before Restoration This sculpture had been in the chemically laden flood waters of Hurricane Katrina.The paint film was missing in areas of the piece. The varnish was blanched or discolored. The front and back of the face was inundated with mold of various kinds. Small cleaning test visible center left.

after restoration the sculpture was treated for mold, foreign matter was removed from the face of the piece Discolored varnish was removed from the face. areas of loss were filled, sealed, inpainted with reversible colors. a final protective coat of a reversible acrylic resin varnish was applied to the completed piece.

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