http://www.ckpaintingconservation.com/new-gallery3 daily 0.75 2014-10-07 https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433a2dae4b0f05e7848cae0/1412670170303/detail+scalpel.jpg Filling a Loss https://static1.squarespace.com/static/540caa89e4b042802a370301/5433a28be4b0adbccfc5ae60/5433a2c5e4b0129e5fb29f34/1412670170303/detail+scalpel.jpg Filling a Loss http://www.ckpaintingconservation.com/new-index daily 1.0 2020-03-23 https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5e78cf691bd64128b626bb45/1584975721410/ Conservation and Restoration of Easel Paintings https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433a5dde4b097cc75eceaa4/1412670941925/Salvator+Rosa%2C+Before.jpg Conservation and Restoration of Easel Paintings https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433a767e4b0868f8125f0a1/1412671335866/Action+Shot+Team+Work.jpg Conservation and Restoration of Easel Paintings https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433a57ee4b0f46264ae7419/1412670846584/Picking+Cobnuts+During+Cleaning.jpg Conservation and Restoration of Easel Paintings https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433ad13e4b076c1c89a5bb0/1412672772499/varnish+removal+2.png Conservation and Restoration of Easel Paintings https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433aadbe4b0419ee2bd4340/1412672219288/eeva+scrape.jpg Conservation and Restoration of Easel Paintings https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433a278e4b0f46264ae3cb7/1412670072938/detail+hammer.jpg Conservation and Restoration of Easel Paintings https://static1.squarespace.com/static/540caa89e4b042802a370301/t/554a211be4b0ea30a64bc0df/1430921499606/Lucy+eeva+waterloo.jpg Conservation and Restoration of Easel Paintings http://www.ckpaintingconservation.com/necusersc-beatondesktopwebsiteitalianate-landscape-by-h-danckerts daily 0.75 2014-09-28 https://static1.squarespace.com/static/540caa89e4b042802a370301/t/542e7662e4b0bfd4327542b4/1411932794776/Front%2C+before.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - Before treatment There was a thick layer of surface dirt and darkened varnish on the front of the painting. The canvas was attached poorly on a stretcher that was too large, and tears were temporarily repaired.   https://static1.squarespace.com/static/540caa89e4b042802a370301/5421bfe1e4b0a0d6201ef311/5421c086e4b09194f76ca66c/1411932794776/Front%2C+before.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - Before treatment There was a thick layer of surface dirt and darkened varnish on the front of the painting. The canvas was attached poorly on a stretcher that was too large, and tears were temporarily repaired.   https://static1.squarespace.com/static/540caa89e4b042802a370301/5421bfe1e4b0a0d6201ef311/5421d226e4b06e723f71f8ee/1411932838770/Front%2C+raking.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - Raking light https://static1.squarespace.com/static/540caa89e4b042802a370301/5421bfe1e4b0a0d6201ef311/5421c09ee4b0c158abefdff7/1411932928853/Front%2C+during+varnish+removal.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - During varnish removal The discoloured varnish is visible in the lower left corner and the true colours of the painting are revealed https://static1.squarespace.com/static/540caa89e4b042802a370301/5421bfe1e4b0a0d6201ef311/5421c06ae4b0c158abefdf83/1411932875648/Front%2C+after+filling.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - After filling After the canvas deformations and tears were repaired the paint and ground layer losses were filled. https://static1.squarespace.com/static/540caa89e4b042802a370301/5421bfe1e4b0a0d6201ef311/5421c057e4b0c158abefdf59/1411933017919/Front%2C+after.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - After treatment Finally the losses and abrasions were retouched and the painting was varnished. https://static1.squarespace.com/static/540caa89e4b042802a370301/5421bfe1e4b0a0d6201ef311/5421c0aee4b09a2902bf39ad/1411933051837/Reverse%2C+before.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - Reverse before treatment The old strainer was of poor quality and could not be expanded to improve the tension of the canvas. The tears had been only repaired with temporary patches. https://static1.squarespace.com/static/540caa89e4b042802a370301/5421bfe1e4b0a0d6201ef311/5421c0a1e4b0c158abefe005/1411933091257/Reverse%2C+after.jpg Italianate Landscape by Hendrick Danckerts, Historic House, Derbyshire 17th C, Oil on canvas - Reverse after treatment The painting was lined onto a sailcloth fabric. This provides the original canvas more support and allows the painting to be attached to a stretcher. Linen loose lining between stretcher and the painting provides further support. http://www.ckpaintingconservation.com/varnish-removal-ii daily 0.75 2014-10-07 https://static1.squarespace.com/static/540caa89e4b042802a370301/5433ad18e4b076c1c89a5bb3/5433ad45e4b01b0289a57c12/1412672838109/During+cleaning+Pevril+Castle+by+Leonard+Vampbell+Taylor.png The Peak District, Peveril Castle by L. Campbell Taylor (C.20th) from National Railway Museum, York https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5433ad46e4b0d5200bb4330a/1412672838109/During+cleaning+Pevril+Castle+by+Leonard+Vampbell+Taylor.png The Peak District, Peveril Castle by L. Campbell Taylor (C.20th) from National Railway Museum, York http://www.ckpaintingconservation.com/work daily 0.75 2020-04-02 https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5b17f3da6d2a73c2f8e93f02/1528296410582/ Painting Conservation and Restoration Projects - Front, Before Treatment ‘Cityscape’ by Salvator Rosa (C17th) from Stockport Heritage Services. Oil on canvas. A heavy deposit of sooty surface dirt and a yellowed varnish layer prevent the true colours of this landscape painting from showing through. A knock to the front of the painting has torn the canvas support in the upper central area. https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5b17f40c2b6a2836820479c5/1528296460376/ Painting Conservation and Restoration Projects - Before treatment ‘Picking Cobnuts’ by Vladamir Sherwood (c. 1860) from Touchstones, Rochdale. Oil on canvas. When the painting arrived in the studio it had a thick dirt layer covering its entire surface. This had accumulated over many years and contained soot, dust, and dirt particles. The natural dammar resin varnish which had been applied over the paint layers had now darkened and yellowed significantly. Water damage had caused the canvas support at the bottom edge of the painting to shrink, resulting in losses in the ground and paint layers. At a later date, an attempt was made to secure the flaking paint layers with pieces of a plastic film and a wax adhesive. There were also numerous tears in the main area of the canvas, which had been caused by accidental impacts to the painting. https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5b18ebf80e2e721b421534eb/1528296437195/ Painting Conservation and Restoration Projects - BEFORE TREATMENT ‘Tobias Healing the Blind Tobit’ by Valerio Castello (1650) from the Ferens Art Gallery, Hull. Oil on canvas. This painting was conserved and restored with Art Fund support in 2017. When the painting arrived at the studio there was a heavy deposit of grey surface dust and dirt on the surface, with various smears and streak marks. The thick natural resin varnish layers which had been applied over the paint layers had now darkened and yellowed significantly. The painting had also been extensively filled and over-painted. The fillings were poorly textured and the retouchings were discoloured and had been applied over original paint layers, as well as extensive paint layer abrasion and loss. The paint layer damage, which is estimated to have affected up to 40% of the painting, was likely to have been caused the painting’s exposure to an environment with elevated and fluctuating relative humidity levels, as well as historic injudicious cleaning methods. https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5e738fd9c0b307225d66b86f/1584631769909/ Painting Conservation and Restoration Projects - FRONT, BEFORE TREATMENT ‘Woman with a Samovar’ by Ernest Moore (c. 1890) from Rotherham Heritage Services, Rotherham. Oil on canvas. This painting was conserved and restored with a Woodmansterne Funding Award in 2020. When the painting arrived in the studio there were thick layers of surface dust and dirt as well as wax-based coatings, yellowed natural resin varnish layers, and discoloured over-paint. Protective tissue had been adhered to the front of five small canvas tears, before the painting had been brought to the conservation studio. This tissue worked to prevent any loose paint fragments from becoming dislodged during transit. https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5e760cb0d6f8783baa509751/1412259119168/ Painting Conservation and Restoration Projects - 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. https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5e84b6b7ef13d74c6f3ac15c/1585755499731/ Painting Conservation and Restoration Projects - FRONT, BEFORE TREATMENT ‘Whalers in the Arctic’ by John Ward (19th century) from the Hull Maritime Musem. Oil on canvas. Conservation was carried out in 2019 and was funded by the National Lottery Heritage Fund as part of the ‘Hull: Yorkshire’s Maritime City’ (HYMC) project. When the painting arrived in the studio there was a moderate deposit of surface dust and dirt. Below the dirt layers, there several layers of yellowed varnish. There were also occasional localised discoloured retouchings. The ground and paint layers were found to be in good condition generally, with a few small areas of flaking and loss. ©Hull Maritime Museum/Pauline Murray https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5e84b74d8c0d185cc3b692dc/1584632432721/ Painting Conservation and Restoration Projects https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5e84b7e07fe15231668ecbb1/1585756012132/ Painting Conservation and Restoration Projects - FRONT, BEFORE TREATMENT ‘The Dock Master’s Wife’ by unknown artist (c. 1870) from the Hull Maritime Musem. Oil on canvas. Conservation was carried out in 2019 and was funded by the National Lottery Heritage Fund as part of the ‘Hull: Yorkshire’s Maritime City’ (HYMC) project. When the painting arrived at the conservation studio, there were thick dirt deposits on the front of the painting as well as several layers of very yellowed varnish and discoloured over-paint. Many areas of ground and paint were flaking and unstable. The canvas had been severely torn in several places, most noticeably the large complex tear at the centre of the painting. This painting would require painstaking cleaning and major structural treatment. ©Hull Maritime Museum/Eeva Kukkonen https://static1.squarespace.com/static/540caa89e4b042802a370301/t/5e85e10ed3eee631a4cf4b74/1585757867746/ Painting Conservation and Restoration Projects - Mapping of Flaking Paint Layers, Before Treatment ‘Capriccio: Antique Ruins and a Distant Town’; one of eight large scale capricci paintings from the Dining Room at Shugborough Hall, National Trust. Distemper (pigment bound with animal glue) on canvas. With a complex attribution history: seven of the Capricci are by Pietro Paltronieri (1673–1741); two were later extended by Biagio Rebecca (1731–1808); and the eighth has recently been re-attributed to Antonio Joli (1700-1777). Conservation of the eight large scale paintings took place between October 2018 and December 2019 and was funded by the National Trust. The capricci paintings were prioritised for conservation work owing to the instability of the distemper paint layers, which were lifting and flaking away from the canvas support. In October 2018 a mapping survey was undertaken, whereby each painting was carefully assessed in a raking light, and areas of flaking were documented. A rating system of ‘severe’, ‘moderate’ and ‘mild’ flaking were followed, and the affected areas indicated with either red, amber or yellow outlines. This mapping exercise would help with the longer term monitoring of these vulnerable and sensitive distemper paintings. ©National Trust/photographer unknown http://www.ckpaintingconservation.com/links daily 0.75 2015-03-05 http://www.ckpaintingconservation.com/who-we-are daily 0.75 2021-11-04 http://www.ckpaintingconservation.com/what-we-do2 daily 0.75 2014-11-20 http://www.ckpaintingconservation.com/contact daily 0.75 2014-11-20