Dry cleaning and the removal of degrading tapes, mount board and poor quality backing materials.
Preservation also, includes the "re-housing" of the art work using conservation standard or museum grade mount materials with good framing. Re-housing your picture in conservation materials prevents further deterioration (the art work should not be stuck or glued to an acidic backing board).
UV Filter glass is also recommended in Framing especially with watercolours to prevent the fading of watercolours and sensitive inks.
Watercolour pictured with mould spore stains (brown spots) before Conservation
Conservation includes Preservation, mentioned above, and includes the removal of acidic backing materials too.
Conservation also includes gentle water cleaning treatments which clean the picture support - the paper- on which the media or pigment is placed.
Technical water treatments allow the media/pigment to remain as the artist intended it to on its paper surface without disturbing it. With Watercolour paintings the watercolour paint is also cleaned by using a gentle treatment which allows the pigment to be cleaned without dislodging it from where the artist intended it to be.
Each picture has a water treatment plan made to suit its requirements depending on whether it's a watercolour, print or drawing.
If required a light chemical treatment designed to further lighten staining can be used. Lisa uses a special solution which reduces and removes staining while conditioning the fine paper fibres. This solution is gentle and effective. A special solution Lisa learnt and was gifted from Keith Holmes - one of the most highly respected British Paper Conservators. His London studio Conserved Works of Art on Paper for London's Science Museum and the Imperial War Museum.
Stained paper, for example, can be caused by Acidic backing boards from old framing techniques. Time or age stains, environmental effects and more commonly oxidised mould spores - sometimes called 'foxing' - are other causes of paper deterioration as well as water damage.
Watercolour pictured - after Conservation showing removal of mould spore stains
Restoring the picture back to the artists original intention. This requires intervention with retouching work.
Detail of Poster before restoration (pictured below)
Detail of Poster After Restoration (here you can see Lisa's meticulous work)
Presentation of work returning to client
Work can be reframed in Clients original Frame with new conservation backing boards.
Or Packed in Acid free tissue - (always attached to Heritage Card for support)
Baudains Art Conservation can also help you authenticate and date your work of art.
As Lisa also studied the History of Art at the Courtauld Institute of Art and gained her Post Graduate Diploma in 2001. This provided her with a solid grounding for Research.
She has researched in the British Library, The Courtauld Book Library, the Witt and Conway Photographic Libraries, the Tate Archives and the British Museum Print Room.
DISCLAIMER: All works should be insured by the client for travel, fire, theft and flood damage under the ‘goods in trust’ insurance as work carried out by Baudains Art Conservation is at the owner’s risk.
Contact Lisa on 07797 834 123 for a free consultation
Email: [email protected]
OIL/EASEL PAINTINGS CONSERVATION AND RESTORATION
For Oil/Easel Paintings, Baudains Art Conservation is happy to recommend Susie Pinel at Miniature & Fine Art Conservation(Jersey) Ltd on
Contact Susie on 01534 853969 or email: [email protected]
Please see this wonderful Oil painting of Lily Langtry restored by Susie, pictured below.
Picture credit: Jersey Heritage.
Susie is an experienced Oil paintings conservator with a highly prestigious career having been appointed to restore miniature paintings in the Royal Collection at Windsor Castle. She has also worked for the Duke of Devonshire at Chatsworth House as well as for Jersey Heritage and the Earl of Jersey.