The past can be brought back to it’s original luster by having three simple procedures followed, Preventive Conservation, Stabilization, and Restoration. Whether paper or canvas, photo or painting you can easily return to what once was and keep it that way here are some examples of what can be done to revitalize and/or keep the original condition your beloved picture or painting.

Water, acidic, tearing, molding, cracking or light damage can be removed or repaired if you do not wait too long, cause remember that time is of the essence when it comes to acidity especially, to learn more on how to prevent acidic damage please refer to the framing section of this site. 

Preventive Conservation - ensures that works of art are kept in its original condition through the practice of monitored handling, exhibition, and storage. Also the identification of any and all harmful stimuli.

Stabilization - the arrest of ongoing deterioration and the prevention of further damage.

Restoration - similar to stabilization, the restoration process goes a step further; using methods such as : Cosmetic varnish removal, replacement of previous negligent restorations(retouching and overpainting), washing, bleaching for prints with acidic damage.

Conservation and restoration terms and procedures concerning paintings 

Surface cleaning - the removal of accumulated surface dirt, grime and smoke. 

Varnish removal - the removal of discoloured or uneven varnish layer.

Facing - the adhesion of a temporary layer of paper tissue to an area of flaking paint to stabilize the area until full treatment is possible.

Local Consolidation - the stabilization of a small area of weak paint.
Lining - the reinforcement of degraded or damaged canvas which is unable to safely support unstable overlying paint.

Local repair - adhesion of a thin patching fabric to reverse of a canvas in order to stabilize a small tear or puncture.

Infilling - the application of gesso or reversible filler in an area of paint loss to prepare a level surface prior to cosmetic inpainting.

Isolating varnish - the application of a coat of stable varnish over the paint surface in preparation for inpainting.

Inpainting - (retouching) is conducted only in areas of loss(i.e. fills) using stable reversible colours to blend in with the surrounding design.

Overpainting - the unethical practice of covering up original design to obscure damage or to compensate for the restorer’s failure to match surrounding colours.(note: in some instances necessary to achieve an acceptable degree of completeness.)

Varnishing - the final step in the actual treatment, the application of reversible, non-yellowing coating over the paint for protection.


Conservation and restoration terms and procedures concerning paper

Dry cleaning - the gentle removal of surface dust and smudges.

Tape removal - lifting of pressure sensitive adhesive tape and stain.

Backing removal - mechanically removing a work that has been mounted(adhered) or “laid down” to a harmful acidic support
(i.e. Cardboard)

Humidification/Flattening - the introduction of moisture to a work in order to remove wrinkles and deformations.

Washing - the immersion or floating of a pre-tested work in clean plain water to remove acidic residue, which results in reduction of stains, and brightening of the paper.

Bleaching - the application of an oxidizing or reducing chemical, locally over a stain or to be applied to the entire surface for the purpose of whitening of the paper. (Note: caution must be used to properly cleanse, an inexperienced hand can result in the degradation of paper and fading of colour. Performed only under special circumstances).

Local tear repairs - the reinforcement of tears utilizing non-acidic materials.

Lining - the application of a supporting sheet of quality paper on the reverse of a weakened paper(using safe adhesives).

Paper fills - the insertion of paper patches in/over losses to provide an even surface and texture.