Paintings Conservator LLC
All paintings are given personal care by the conservator from examination through treatment. Guided by the needs of each painting, the process of conservation is subjective. Therefore, the cost for conservation treatment varies depending on the needs of each painting.
First, a visual examination of the painting sometimes using a microscope and ultra-violet light. Based on the results of the examination, a recommended treatment proposal is presented to the client describing the best course of treatment, materials, and estimated cost to conserve the painting with the least amount of invasiveness. This includes process techniques, objectives of treatment and alternative approaches.
The conservator, a minimal interventionist, abides by the code of ethics set forth by The American Institute of Conservation of Historic and Artistic Works.
All treatments and photos depicted in this website were performed exclusively by our studio unless otherwise indicated
Cleaning - Natural resins that yellow with time, residual dirt and air-borne pollutants distort original colors diminishing the aesthetic value of the painting. After proper evaluation of the painting surface, the best cleaning processes can be applied with amazing results.
Repairing Tears - Torn or punctured canvases can be repaired. There are many different methods used based on the type and extent of damage:
Our hot linings are done with BEVA371 adhesive on vacuum hot table with Belgian linen.
Filling and Inpainting - Damaged areas and areas of paint loss are filled and conservatively inpainted using reversible materials, employing techniques that make the retouched area indistinguishable from the rest of the painting.
Repairing Other Problems - Water Damage, Flaking Paint Loss, Shrinking, Cracking, Reticulation are all difficult issues that painting conservators deal with on a regular basis and that can also be successfully treated.
This painting by Edward Gay, entered our studio in a petrified and crumpled state. Having been abandoned for years in the back of a closet, dry and on Jute the painting was very fragile. After days of monitored treatment and gentle coaxing, the painting was finally brought back to plane with no new damages. It was then cleaned, lined, filled and inpainted.