Paintings

Preventive conservation comprises indirect measures taken to prevent or minimise damage to a work of art, with the environment in mind. For example, we can evaluate the storage conditions of a painting and - if necessary - improve it. After all, being pre-emptive is better than reactive!

For some works of art, prevention is no longer sufficient. These fragile pieces are treated in our restoration workshops. We call this active conservation: the treatment of a painting with minimal and reversible interventions to prevent further deterioration. Examples include consolidation or reinforcement.

You can contact us for a variety of treatments:

Cleaning | Varnish removal | Stabilising scratches or cracks | Filling and reintegration of the paint layers | Removal of old restorations, such as overpaint and retouching | Stabilising or strengthening the substrate | Retouching | Applying a new layer of varnish | Frame fillings & retouchings

The Frame of the painting can also be included in the restoration plan. Most often this occurs either for aesthetical reasons or when the Frame's construction has deteriorated to such an extent that it threatens to become harmful to the painting.

Documentation is of great importance. After the treatment, a final report is drawn up in which all examinations and treatments are described in detail, based on photos. This offers the customer insight into the restoration process. Openness about our work is an essential pillar within our company.

Artists

Karel Appel | Anthony Jansz. van der Croos | Jan Frederik van Deventer | Adrian Ghenie | F. van Gulik | Isaac Israels | Cornelis de Jonker | J. Kuypers | J.H. Moesman | Jan van Schoonhoven | Frits Verdonk | Cornelis Springer

We offer various types of material-technical research into paintings. This research can aid in the restoration process and provide insight into the cultural-historical context of a painting.

·   Microscopic examination: used to better understand the techniques, materials and condition of a painting.

·   Ultraviolet radiation: surface materials will fluoresce characteristically, making old retouches, reworkings, surface coatings and glues photographically visible.

·   Infrared reflectography: we use the multi-spectral digital "ARTIST" camera to better detect underlying drawings and pentimenti in the work. 

·   Art historical research: conducting research into an artwork’s origin in context can be a necessary step towards better informing one’s treatment decisions. \

Artist's intention

We are specialised in artist interviews. The artist interview offers the opportunity to collect as much substantive, technical and intentional information as possible about the works of art. Due to the complexity of materials with various ageing processes, the artist interview can provide essential information for the future and allow the decision-making process to be carried out in an ethically responsible manner.