paintings

After cleaning, lining, inpainting and varnish.

The painting as it came into studio with a large tear in the upper-left quadrant, and a general foggy look to it from years of accumulated dirt.

The painting before conservation. It had been held in poor storage and exposed to extensive moisture for a long time.

After cleaning, consolidation, lining, a new stretcher, inpainting and varnish.

The painting before conservation. It had been exposed to extensive moisture in poor storage for years.

After cleaning, consolidation, lining, a new stretcher, inpainting and varnish.

When it came into the studio, the paint film had buckled due to extensive exposure to moisture. The paint film was flaking in some areas, and the surface varnish had blanched.

An organic solvent treatment helped to softened the paint film enough to reorient it into its original position. The painting was then lined, cleaned, filled and inpainted. A final coat of acrylic resin varnish was applied to the face.

This painting had been stored in a moist environment. The paint film had begun to flake, and the varnish and colors had blanched, thus obscuring the composition.

The painting after cleaning, consolidation, lining, a new stretcher, inpainting and varnish.

Here's a portrait of the late great Louis Prima. The painting had been stored in a poor environment and neglected for decades. Paint support suffered from dry rot, and the paint film and ground were flaking from the canvas. Further, the old surface varnish had discolored.

An organic solvent treatment helped to softened the paint film sufficiently so that we could reorient it into its original position. The painting was then lined, cleaned, filled and inpainted. A final coat of acrylic resin varnish was applied to the face. We now have a much happier Louis!

When this painting came into the studio, its canvas support was structurally unsound, and there were abrasions with losses all over the painting - plus the surface varnish was discolored.

We lined, cleaned, filled and inpainted the painting, and applied a final coat of acrylic resin varnish.

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Each painting presents the conservator with its own history and consequent problems. The examples on this page show you what typically comes into our studio. You can see what can be done -- but your paintings can't speak to you and tell you what their problems are if they are just hanging there on the wall. Bring them to us to assess. We will discuss with you the problems we see, some of which may not be obvious, and the options available.