Removal of grime, discoloured varnish coatings, and old darkened and discoloured repaints

These are the layers which all too often obscure the real colours and artistic intention of the painting. They can also act as agents of deterioration. Grime can be surprisingly aggressive in its effects, and varnishes can exert traction on the paint layers beneath.

They can be removed with the use of carefully chosen solvents and reagents, or sometimes mechanically with scalpels under magnification.

Where possible, this studio now favours gentler, greener methods — for example cleaning with agar gels made using water and ethanol, which allow very controlled, localised cleaning with minimal solvent exposure for both painting and conservator.

In most cases, old repaints have covered far greater an area of the painting than was necessary. When retouching losses, we use modern reversible resins and pigments, and work under magnification so that the restoration is restricted to the re-integration of damaged areas.

Documentation, photographs of work in progress and Treatment Reports

Every time a painting receives conservation treatment, records are made, to be kept with the painting so that future conservators will not only know how best to plan any new treatment, but also that they may assess as time goes by the performance of materials used.

Labels are preserved, and records are kept of inscriptions and of other details which may be temporarily or permanently covered.

Photographs are taken of work in progress to illustrate the Treatment Report, which describes the procedures and materials used in the conservation/restoration treatment. The extent of the photographic record will be dictated by the importance of the painting and/or the complexity of the treatments carried out.