QC Fine Arts Restoration Services
We offer a wide variety of restoration and conservation services for damaged and deteriorated paintings. From cleaning and repairs, to restoration and conservation treatments that are truly remarkable. In most cases, the damage is no longer visible to the naked eye.
We follow the Standards of Practice and professional Codes of Ethics established by the American Institute for Conservation of Historic and Artistic Works (A.I.C.), using only reversible materials and methods that do not harm or alter the artists original work. We believe, that this sensitivity and attention to detail, is the hallmark of quality restoration and conservation treatments.
Paintings and other works of art often deteriorate over time. They are uniquely created using materials that are often incompatible and react to changes in the environment, exposure to light, temperature and relative humidity. Others are damaged by accidents, mishandling, improper display and storage, exposure to smoke, fire and water.
We follow the Standards of Practice and professional Codes of Ethics established by the American Institute for Conservation of Historic and Artistic Works (A.I.C.), using only reversible materials and methods that do not harm or alter the artists original work. We believe, that this sensitivity and attention to detail, is the hallmark of quality restoration and conservation treatments.
Paintings and other works of art often deteriorate over time. They are uniquely created using materials that are often incompatible and react to changes in the environment, exposure to light, temperature and relative humidity. Others are damaged by accidents, mishandling, improper display and storage, exposure to smoke, fire and water.
We Provide A Full Range Of Painting Restoration & Conservation Service
- Examination and condition reporting of individual paintings or entire collections in our studio, your home or office
- Written and photographic documentation before, during and after treatment
- Surface cleaning to remove dirt, grime and soot
- Removal or reduction of yellowed or darkened varnish and previous restorations
- Consolidation of loose and flaking paint
- Stabilization and repair of punctures and tears
- Linen, Mylar and woven Polyester Monofilament linings
- Auxiliary Support replacement (stretchers, strainers, solid and honeycomb panels)
- Stretching and flattening
- Paint loss in-filling
- Color matched in painting (retouching)
- Varnishing with non-yellowing and reversible varnishes
- Written Treatment Reports that detail methods and materials utilized for each project
What Happens To Paintings Over Time?
All the materials used in the creation of a painting exhibit some degree of decay over time. Paintings undergo change during the first six months of their life, as the solvent evaporates and the paint begins to dry. As paint dries, a pattern of cracks (craquelure) can develop. Surface cracks may also be an indication that the artist used faulty materials or techniques.
Paintings in oil become more transparent as chemical changes occur over time. Varnish layers begin to yellow and darken as they age and can also become more brittle than the paint itself and form its own crackle pattern or flaking independent of the paint.
Other effects of aging include the change in tone or fading of some pigments, for example some greens may turn brown, blues can go grey, and reds can fade. These effects are reduced if the painting has not been exposed to light.
The surface of a painting is frequently covered with layers of surface dirt and grime, deposited over time from candles, smoke, fires, and general atmospheric contamination. The dirt can settle into the paint layers on unvarnished paintings making it nearly impossible to remove without damaging the paint. A whitish haze can develop in paintings stored in damp conditions where moisture has penetrated the paint layers. This effect is known as bloom.
Basically paintings are often composed of incompatible materials, each having different reactions to changes in relative humidity, temperature and light. Small changes are absorbed by the materials which are reasonably elastic. This elasticity, however, diminishes with age and eventually the painting cannot absorb the stresses caused by these fluctuations.
Most paintings of any age have had some physical change or damage inflicted upon them. Paintings all run the risk of being scratched, knocked, dented, torn or punctured. The paint layers generally show in time the effect of various sorts of impact on a canvas. A poke from the reverse can stretch the canvas to form a bulge. Around the center of this impact, spider web shaped cracks generally form over time. A scrape along the back of the canvas will often produce centipede or fishbone shaped cracks.
A paintings support is also vulnerable to change and deteriorate. Paintings on canvas suffer from weakening fibers which lose strength through oxidation and which eventually become too weak or too brittle to support the paint layers. The tacks or staples which hold the canvas to the stretcher can also oxidize (rust) and then further contribute to the weakening of the canvas. The wood of the stretcher is acidic. This produces more loss in strength of the canvas, especially at the angle where the canvas bends around the stretcher. Repeated fluctuations in relative humidity cause the canvas to slacken and then tighten and finally to go permanently slack. As the slack canvas sits in direct contact with the stretcher sharp cracks can form along the lines of the stretcher edge. The movement in the canvas will eventually cause brittle and stiff paint to lift and flake from the support. An experienced restorer can reverse and correct any of these problems.
Paintings can be protected to some extent from the effects of normal aging by good preventative conservation measures and from physical damage by good hanging, handling and storage procedures.
Paintings in oil become more transparent as chemical changes occur over time. Varnish layers begin to yellow and darken as they age and can also become more brittle than the paint itself and form its own crackle pattern or flaking independent of the paint.
Other effects of aging include the change in tone or fading of some pigments, for example some greens may turn brown, blues can go grey, and reds can fade. These effects are reduced if the painting has not been exposed to light.
The surface of a painting is frequently covered with layers of surface dirt and grime, deposited over time from candles, smoke, fires, and general atmospheric contamination. The dirt can settle into the paint layers on unvarnished paintings making it nearly impossible to remove without damaging the paint. A whitish haze can develop in paintings stored in damp conditions where moisture has penetrated the paint layers. This effect is known as bloom.
Basically paintings are often composed of incompatible materials, each having different reactions to changes in relative humidity, temperature and light. Small changes are absorbed by the materials which are reasonably elastic. This elasticity, however, diminishes with age and eventually the painting cannot absorb the stresses caused by these fluctuations.
Most paintings of any age have had some physical change or damage inflicted upon them. Paintings all run the risk of being scratched, knocked, dented, torn or punctured. The paint layers generally show in time the effect of various sorts of impact on a canvas. A poke from the reverse can stretch the canvas to form a bulge. Around the center of this impact, spider web shaped cracks generally form over time. A scrape along the back of the canvas will often produce centipede or fishbone shaped cracks.
A paintings support is also vulnerable to change and deteriorate. Paintings on canvas suffer from weakening fibers which lose strength through oxidation and which eventually become too weak or too brittle to support the paint layers. The tacks or staples which hold the canvas to the stretcher can also oxidize (rust) and then further contribute to the weakening of the canvas. The wood of the stretcher is acidic. This produces more loss in strength of the canvas, especially at the angle where the canvas bends around the stretcher. Repeated fluctuations in relative humidity cause the canvas to slacken and then tighten and finally to go permanently slack. As the slack canvas sits in direct contact with the stretcher sharp cracks can form along the lines of the stretcher edge. The movement in the canvas will eventually cause brittle and stiff paint to lift and flake from the support. An experienced restorer can reverse and correct any of these problems.
Paintings can be protected to some extent from the effects of normal aging by good preventative conservation measures and from physical damage by good hanging, handling and storage procedures.
Proper Environment For Paintings
Where a painting is stored or displayed, and even how it is hung on the wall, can greatly affect its longevity. Depending on the type of paint used, humidity may cause cracking or peeling. Ideally a painting should be stored in an environment that is comfortable for people, around 70 degrees Fahrenheit, and with a relative humidity between 40 and 60 percent. Drastic changes should be avoided as well.
Displaying Your Paintings
A simple backing board attached to the wooden stretchers helps to keep dust and debris off of the normally raw reverse side of the canvas and can protect the object during handling. This backing should be sealed with no space for air to enter. All paintings should be hung by picture wire strong enough to support the weight of painting and frame. The wire should be stretched fairly taught from one side to the other. We recommend using a hanger attached to the frame with two separate screws. Do not use eye screws as these can pull out. Paintings should always be hung by picture hooks appropriate for the weight of the piece – never on nails. If hung on an exterior wall it is recommended that small rubber bumpers be placed on the back of the painting to allow air to circulate behind it. A thin insulating board may also be used to isolate the back of the painting from an exterior wall.
Paintings should not be displayed over a working fireplace as this will expose them to heat and soot, causing significant damage in a short period of time. Although a fireplace is often a focal spot for a room, a painting displayed above a mantel will be exposed to soot, heat and environmental extremes. Hanging paintings above heating and air conditioning vents or in bathrooms with tubs or showers is also inadvisable because the rapid environmental fluctuations will be harmful. Select a safe place away from high traffic and seating areas.
Paintings should never be in direct sunlight which can cause faded colors and other types of damage. Halogen lights are a poor choice since they emit damaging ultraviolet light. Lights that attach to the top of the paintings are also not recommended. If these should ever become loose and fall they may scratch or rip or possible burn the canvas. Recessed ceiling lights, track lighting and color-balanced incandescent or tungsten bulbs are the best choices.
Paintings should not be displayed over a working fireplace as this will expose them to heat and soot, causing significant damage in a short period of time. Although a fireplace is often a focal spot for a room, a painting displayed above a mantel will be exposed to soot, heat and environmental extremes. Hanging paintings above heating and air conditioning vents or in bathrooms with tubs or showers is also inadvisable because the rapid environmental fluctuations will be harmful. Select a safe place away from high traffic and seating areas.
Paintings should never be in direct sunlight which can cause faded colors and other types of damage. Halogen lights are a poor choice since they emit damaging ultraviolet light. Lights that attach to the top of the paintings are also not recommended. If these should ever become loose and fall they may scratch or rip or possible burn the canvas. Recessed ceiling lights, track lighting and color-balanced incandescent or tungsten bulbs are the best choices.
Moving Paintings
Paintings should be moved as little as possible. Whenever paintings are handled they are at increased risk of damage. If you must move a painting, be sure that your path from location to location is clear so that you do not have to maneuver around furniture or obstacles. For larger works lift with one hand on the bottom and one on the side to keep the piece steady. Smaller works may be carried by holding each side. Unless a painting has flaking paint it should be carried vertically just as it was hanging on the wall. Any wires that may be loose and hit the back of the painting should be secured and all hardware should be inspected before the painting is re-hung. Care should be taken so the painting does not rest on the stretchers as this can leave marks and indentations.
Do not lift the painting using the top of the frame or stretcher as these areas can break under the weight of the whole painting. If the painting is too large for one person to lift properly, have a second person help lift and carry it. If the painting is to be set on the floor or leaned against a wall it should be slightly elevated on small padded blocks.
Do not lift the painting using the top of the frame or stretcher as these areas can break under the weight of the whole painting. If the painting is too large for one person to lift properly, have a second person help lift and carry it. If the painting is to be set on the floor or leaned against a wall it should be slightly elevated on small padded blocks.
Maintenance
Paintings should be inspected every six months in order to identify any problems before they become too severe. Paintings may be lightly dusted with a sable brush (never a feather duster) and only after checking for any loose, flaking paint. Do not use solvents or liquids of any kind on the painting. Aerosol sprays such as air fresheners, window cleaner, furniture polish and foggers should never be used around paintings. It is also important to remove paintings from the room when painting, plastering or steam cleaning carpets.
When Disaster Strikes
If a painting is in an area that has been flooded or fire-damaged it must be removed and taken to a conservator or painting restoration specialist. If there is any sign of flaking paint lay the painting flat with the image facing up. Do not wipe smoke, soot or debris from the surface as this may loosen paint and cause severe damage.
Insect infestation, flaking paint, paint loss, torn canvas, cracks with lifting edges, wrinkles or draws in the canvas, mold growth, grime or discolored varnish are all problems that only a professional conservator is trained to address.
Insect infestation, flaking paint, paint loss, torn canvas, cracks with lifting edges, wrinkles or draws in the canvas, mold growth, grime or discolored varnish are all problems that only a professional conservator is trained to address.