This painting came in with a dry canvas which we re-lined with archival linen to improve the foundational strength. Careful cleaning removed surface contaminates and white splatter marks, and conservation varnish finished the restoration.

The original frame suffered from many areas of loss and broken composition. It was carefully cleaning and re-gilt where necessary with new silver, and a back-up given to allow proper spacing for the stretcher bar.

In the restored version it’s so nice to see how the cleaning revealed the tones of the sky with more clarity and contrast, and how the pink tones are much more impactful, not to mention the reflections in the water. And the frame has been elevated to something that now compliments the artwork. This restoration exemplifies the kind of transformation that is possible even without really adding anything.

Before and After.

This painting suffered a few small tears and a dry canvas with dirt particulates over the surface and reverse. After de-fitting it was carefully cleaned on the front and reverse and then re-lined with Pe-cap to increase the foundational strength. In-fill and in-painting concealed the holes and matched the colors to the originals.

A new custom hand carved frame was prepared in the American Cove style with lamb’s tongue carvings, a black liner, 22 karat gold, and an archival fit.

This painting by Thomas Locker (1937-2012) suffered from surface contaminates, small tears and holes, a brittle canvas, areas in the paint film that had risen, and areas of paint loss.

To solidify the foundation the painting was placed on an aluminum panel. Treatments of hydration and consolidation then returned the lifted portions of paint film to their original plane. Holes and tears were mended and then in-painted to conceal them. Areas of paint loss were also in-painted. Due to the increased depth of the aluminum panel, a cradle was added to allow the painting to sit in its frame, which is a new custom and hand-carved frame in the American Krasner Modernist style. The frame has double panels and was double-gilded with white gold. An archival fit finished the restoration.

This oil on canvas by Guy Carleton Wiggins (1883-1962) suffered from dirt particulates across the surface, a dry and brittle canvas, and craquelures across the surface.

The painting was carefully removed from its stretcher bar, and the front and reverse carefully cleaned. New Belgian linen was adhered to the canvas in a heat press. This added much needed foundational strength as well as the added benefit of consolidating the craquelures. Additional hydration, to coax the craquelures back into the paint film, was administered following this stage. In-fill and in-painting concealed these areas. Conservation varnish finished the restoration.

A custom hand carved American Impressionist frame was created, gilded with 22k, and an archival fit given for the painting.

Before and After