Following an assessment, identification of the varnish and the underlying pigments was established before
treatment began. The varnish was removed revealing the vibrant colours in the artwork. Punctures and tears
were repaired with compatible and reversible sympathetic conservation quality materials.
A 18th century print which had been cropped; that is its original margins cut away at some
time. After stabilising the print handmade paper edges were added to allow for handling and
mounting. The handmade deckle edges were left in tact.
Queen Charlotte, an 18th century engraving.
Before treatment
After treatment
Charcoal Drawing
The aesthetic as well as physical integrity of this drawing was severely compromised by acidic mount
boards, insect infestation, acidic migration and Sellotape stains.
A Colour Lithographic Print
This lithograph had darkened considerably due to a discoloured varnish, which was cracking and peeling
away the printing ink and paper.
The Adoration of the Shepherds c 1599, an Engraving by Hendrick Goltzius, 1558-1617.
After treatment the print was float mounted,
(all edges visible) in a deep mount using
Japanese tissue hinges & archival adhesive.
Ultra violet filtering glass was placed over the mount
and the package was sealed around the edges with
archival paper tape to prevent pollution from entering.
The wooden frame was sealed inside
with aluminium backed tape to protect
the print.
After treatment the work was hung on an interior
wall, with mininimal daylight exposure.
Before treatment
After treatment
Before treatment
After treatment
