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|
To
contact Clare Herbert, telephone +44 (0) 1453 886
445 Conservation Matters is based in Stroud, Gloucestershire, UK |
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Requesting work If you would like your painting to be examined, or you would like find out more, do not hesitate to contact me by e-mail or by phone. I will either arrange for a convenient time for a visit to the studio, or if it is convenient, to visit the painting itself. I will need to examine the painting for at least half an hour or more depending on the complexity of the problems the painting may, or may not, have. This enables the client to make an informed decision about the treatment. I will then complete a written report, detailing the work needed and an estimate. You will not be charged at this stage, and are under no obligation to proceed any further. If further problems are discovered while treatment is taking place, the client will be contacted and any change in treatment discussed. It is sometimes the case that the client has a choice of treatments, and therefore, the cost of treatment. |
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Case
History
One client had found a painting
without a frame in the attic. The painting was
found to be structurally sound and the paint,
although a little dusty, was stable. Limited by
a small budget, he was advised that, rather than
cleaning, more would be achieved in terms of its
long term stability by framing it, the frame
acting as protection for the vulnerable edges
and back.
Advice was given as to how to frame the painting - for example: cushioning the edges, and the provision of a backing board. This provided an intermediate solution while lessening the rate of deterioration. |
Case
History
Upon examination of a painting, it was
found that half the background had been
over-painted, over some thin tears. The
inconsistency between original paint and
re-touching was obvious. The original paint had
been applied in light, deft marks, while the
retouching had a heavier hand and longer
strokes. As it could not be determined as to
whether the retouching could be removed safely,
a bracketed estimate was given to cover all
eventualities.
The result was that once the re-touching had been confirmed to be non-original material, the retouching came off without detriment to the original paint underneath. |