1.     Structural Repair
   

Stabilisation of the structural support, which might be canvas, the stretcher/strainer the canvas is attached to, a wooden panel, copper, hardboard, or any other material serving as support for the artwork. The repair deals with tears, punctures, deformations, splits, cracks or general weakening of materials.

1.     Consolidation
   

Paint and/or ground layers can develop cracking and become fragile or unstable for various reasons, eventually resulting in paint loss. Consolidation secures those unstable layers using conservation grade adhesives selected to best suit the requirements in each case.

1.     Cleaning
   

The appearance and readability of an artwork may have altered or become almost obscured by dirt on the surface, an aged varnish layer, or previous restorations in the form of discoloured retouching or over-paint. Removal of any such layers can be carried out using carefully selected cleaning agents, solvents, solvent  gels, emulsions or mechanical methods.

1.     Restoration
   

Typically this means reinstating any lost material to improve the aesthetic appearance, filling of losses and colour integration of those areas by retouching. The degree of mimicry aimed for in retouching can vary from a neutral tone to perfect blending, making it almost invisible to the naked eye. Restoration might also include the application of a new varnish layer to saturate colours.

1.     Frames
   

Minor treatments on frames may be carried out directly, but where more in depth work is required, a specialised frames conservator will be engaged. In most cases the frame will still be treated at the same premises as the painting, avoiding any additional transport.

1.     Painted Sculpture
   

Painted sculptures will be treated in as far as they can be regarded as three dimensional paintings. For more specific treatments of a structural nature, help may also be enlisted from more specialised colleagues.

1.     Contemporary Art
   

Contemporary art (painting and three dimensional objects) often consists of many non-traditional materials (the example in the image shows an object made from polyurethane foam). Where traditional methods can’t be employed, an open minded and critical approach will be taken to choose and develop suitable methods for treatment.

1.     Preventive care
   

There are various measures that will help to prevent any new damage and slow down ageing as far as possible. Apart from keeping the environmental conditions stable, this could also include fitting of an additional support (in the image a wadding infill is fitted to the back of a canvas). Adequate framing and backing can also contribute a lot to the future stability of a painting.

1.     Condition reports, loans, installation
   

In addition to the standard basic condition report, more extended technical examinations can also be carried out. Stereo microscopy and UV light are available, both with optional digital photography. Infrared and X-ray imaging, or analysis of materials can be arranged for through external providers. Condition checks can be carried out for individual works of arts or as whole collection surveys and can be documented as condition report or loan transit report. Sylvia is also experienced acting as courier for art in transit and to oversee exhibition installation.

1.     Training
   

Sylvia is experienced in training and supervising groups of volunteers for projects such as cataloguing, packing and basic surface cleaning of objects.