Restoration · Paintings

Painting conservation and condition reports

A yellowed varnish, a tear in the canvas, a water stain. Most damage to paintings looks more dramatic than it is — provided a specialist treats it. It becomes dramatic when it is treated by someone who is not.

Water damage to a gilded mirror frame: flaking finish and lifting gesso flakes
Insurance case

When water loosens the glue

Water damage to a carved mirror frame — documented from the findings through the quotation to the final report for the insurer.

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Typical treatments

Cleaning and varnish removal

Decades of soot, nicotine and yellowed varnish settle over the paint like a yellow veil. We take these layers off under control — millimetre by millimetre, checking the findings constantly. What appears underneath surprises many owners: the actual colours of their picture.

Retouching and filling losses

Losses are filled, primed and retouched in a reversible technique — so that a later conservator can identify our work and undo it. That is not caution, it is professional ethics.

Treatment of tears and supports

Tears in the canvas, deformations, loose stretchers: we stabilise the support before treating the paint layer.

How a restoration runs

Inspection

In the workshop or at your place; a first assessment from photographs beforehand is fine too.

Findings and quotation

Binding — for your insurer too.

Restoration

With photographic documentation of every stage.

Return

With transport and hanging if required.

Condition reports for insurers and owners

Water damage in storage, damage in transit, a picture that has come off the wall. When art is damaged, owners and insurers need the same thing — a sound assessment of what is damaged, what the repair will cost and what makes economic sense.

What we provide

Recording the damage

At the object, with photographic documentation.

Establishing the scope of treatment

Itemised so it can be followed.

Quotations for insurers

In the form insurers expect.

Carrying out the restoration

Once approved — all from one workshop, with nothing lost between the report and the bench.

Who this is for

Insurers and brokers who need a professional assessment. Private clients and collectors after damage. Companies, law firms and hotels with art on the premises. Museums and galleries working with loans.

Common questions

What does it cost to have a painting restored?

That depends on the size, the condition and the work involved — there is no serious figure before we have seen the painting. After that you receive a binding quotation. First assessments from photographs are without obligation and free of charge.

Is restoration worth it for pictures without a high market value?

Often, yes. The value of a family portrait is not measured by an auction result. We will tell you honestly how the work involved stands in relation to the piece.

Will the insurer cover the cost?

Where the damage is insured, often — we produce the condition reports and quotations required and we know what insurers ask for.

Send us photographs of your painting.

Front and back, the damage in close-up.