Detailed Work using Magnification
       
     
Attaching a Large Painting onto its Stretcher
       
     
Varnish Removal
       
     
Detail Attaching a  Painting onto a Stretcher
       
     
RETOUCHING 'TOBIAS HEALING THE BLIND TOBIT' BY VALERIO CASTELLO (1650) FROM THE FERENS ART GALLERY, HULL
       
     
Texturing a Filling
       
     
Varnish Removal
       
     
Retouching paintings of the Battle of Waterloo by Ernest Crofts from Museums Sheffield
       
     
Detailed Work using Magnification
       
     
Detailed Work using Magnification

'Bridge and White Rails at Bridgehouses' by Unknown of mid-19th century, from Museums Sheffield.  Photograph taken during the careful removal of over-paint using magnification.  

Attaching a Large Painting onto its Stretcher
       
     
Attaching a Large Painting onto its Stretcher

Canvas pliers, copper tacks and a hammer are used to replace the lined painting onto its stretcher. 

Varnish Removal
       
     
Varnish Removal

The 'Roses of Youth' by Henrietta Rae, of c.1900.  Held within the Scarborough Collections but cared for by Scarborough Museums Trust.  Photograph taken during removal of the yellowed varnish layers. 

Detail Attaching a  Painting onto a Stretcher
       
     
Detail Attaching a Painting onto a Stretcher

Photograph showing the use of canvas pliers, copper tacks and a hammer to tension and attach a lined painting onto a stretcher. 

RETOUCHING 'TOBIAS HEALING THE BLIND TOBIT' BY VALERIO CASTELLO (1650) FROM THE FERENS ART GALLERY, HULL
       
     
RETOUCHING 'TOBIAS HEALING THE BLIND TOBIT' BY VALERIO CASTELLO (1650) FROM THE FERENS ART GALLERY, HULL

Retouching damages to ‘Tobias Healing the Blind Tobit’ by Valerio Castello (1650) from the Ferens Art Gallery, Hull.  Dry pigments are bound with a synthetic resin for retouching, ensuring that all work carried out is reversible and distinct from the original oil paint.

Texturing a Filling
       
     
Texturing a Filling
Varnish Removal
       
     
Varnish Removal

Photograph showing removal of a yellowed varnish layer from a painting. 

Retouching paintings of the Battle of Waterloo by Ernest Crofts from Museums Sheffield
       
     
Retouching paintings of the Battle of Waterloo by Ernest Crofts from Museums Sheffield

Retouching damages to this pair of paintings by Ernest Crofts from Museums Sheffield.  Dry pigments are bound with a synthetic resin for retouching, ensuring that all work carried out is reversible and distinct from the original oil paint.