As a restaurateur ask my self the question. Is it a painting that needs in-depth cleaning?
-a canvas with rents, rips or dents ?
-a panel showing cracks?
-a frame missing pieces of ornament?
-are past interventions very visible?
-have past retouches discoloured?
-is the pictorial layer coming loose from its support?
Scope of work
A conservator restores damaged, contaminated and obliterated paintings. To
provide appropriate cure and care the state of repair is analysed, the
painting is separated from its frame or support, the picture support
(canvas, panel, copper, cardboard) is examined and the pictorial (paint,
pigments, charcoal, pastel) layer is conservated and /or restored.
A conservator carries out assignments both on site (in case this would be
required because of exceptional art-historical and/or insurance value or if
transport cannot be justified due to large dimensions and/or state of the
masterpiece) as well as in his own atelier.
Conservation of old and modern masters on panel, canvas, copper and other
Depending on the type and degree of damages, previous treatments and the
techniques applied by the artist, a detailed treatment plan is defined based
on an extensive preliminary examination.
Conservation relates to those operations during which the painting is
consolidated against further deterioration by means of minimal, reversible
direct interventions (curative conservation) or indirect measures
Restoration implies that in addition to the conservation more thorough
interventions like relining, cleaning and retouching are performed with
regard for the aesthetic, historic and physical integrity of the work of
I am specialised in 16th, 17th, 18th century paintings.
One needs to draw a distinction between paintings on canvas and those on
wood. The interventions to the front side by the artist and later on, by the
conservator, are almost identical as they relate to the pictorial layer. The
conservation of a panel however requires highly specialized conservation
expertise and know-how. A conservator specializing in panel paintings has to
know and sense the peculiarities of woodwork to be able to treat the
backside of the panel professionally and effectively.
Rules of engagement
Care and cure of our national heritage honours the principle that the
proprietary importance of cultural heritage relates to the transfer of
information; a work of art being a messenger. This is extremely true if we
consider paintings in this context. Our mission encompasses the preservation
of those messages as legible and undamaged as possible, for the benefit of
present and future generations. Conservation strives to preserve the
historical message with maximum care and cure for the physical messenger.
Focus is cle