ART RESTORATION GALLERY

Below are some examples of painting conservation projects that I’ve previously undertaken.

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Background

This early 18th century French portrait is an oil on canvas painting, thought to be by the circle of Nicolas de Largilliere. It underwent a full painting conservation treatment.

What was done

The treatment involved: securing of severely flaking paint, surface cleaning, removal of a very yellowed varnish layer, re-lining of the canvas, filling and retouching of paint losses and re-varnishing.

Background

This beautiful old painting of Saint John the Baptist was done in oil paint on wood panel. The painting had previously undergone a varnish removal and overpaint removal treatment by another restorer. Therefore the work was largely a retouching project.

What was done

Treatment included: some further varnish and overpaint removal; securing of paint losses; filling of paint losses; retouching of fills and paint damages; and re-varnishing.

Background

This mid 20th century oil on canvas painting by Herbert von Thuemen had a large L-shaped tear around 40cm in length. Therefore it required a major tear repair treatment.

What was done

The tear was repaired using the German invisible tear repair technique. The paint crack edges were closed and paint losses around the tear were secured, filled and retouched.

Background

This large mural painting by Reinis Zusters is made of 126 small canvas-boards painted with acrylic paint. The work measures 2.3 metres high by 5 metres long. The subject references Australia’s Aboriginal origins and its colonial past.

What was done

The mural mostly required surface cleaning, as well as laying down of surface blisters, securing of paint losses, and filling and retouching of paint losses. The mural is on public display in the Blue Mountains Grammar School Gallery in Wentworth Falls.

Background

This oil painting on paperboard was of the client’s old family home in Austria. It had been previously restored quite some years ago. As a result it had a darkened varnish coating that had gone grey, as well as large areas of overpaint hiding much smaller paint damages beneath.

What was done

It underwent a full painting conservation treatment, including surface cleaning, varnish and overpaint removal, retouching of paint losses and damages, and re-varnishing.

Background

This carved wooden figure of the Virgin Mary was believed to be of South American origin. Over time it had suffered much damage to the paintfilm, which had become abraded and had flaked off in small sections.

What was done

The surface was cleaned, the thick yellowed varnish was thinned in a few areas, the paint losses were secured and then were filled and retouched. Two broken pieces of the Virgin’s halo were reconstructed and replaced.