What to expect
The cost of treating a painting, work on paper, or other object is determined through a conservator’s examination, which often includes testing to determine treatment options. Following an examination, a written condition report with treatment proposal is produced. A condition report addresses the physical condition of a work—materials and methods used in its construction, present condition, and how prior restoration, environment, and/or accident have altered or impacted the artifact. In a treatment proposal, a conservator will recommend treatment in a step-by-step outline and provide a cost estimate. When treatment options are available, the conservator will outline these as well.
Paper Conservation
BACC conservators are experienced in the examination, treatment, and care of artifacts composed of paper, paper-related, or parchment supports. We have successfully treated a broad range of objects, from seventeenth-century South Asian paintings delicately rendered in opaque watercolor to large-scale photographs by Richard Avedon. Rembrandt etchings, Toulouse-Lautrec posters, historic artifacts, and drawings and prints by modern American masters such as Charles Burchfield have all been treated to great success in our paper department.
Routine treatment procedures for works on paper include cleaning to remove surface dirt, bathing to reduce stains and to flush deterioration products from paper, stain reduction steps, mending of tears, removal of old repairs or adhesives, reinforcement to enhance stability, and re-housing with preservation quality materials. Our paper conservators are trained to address both structural and aesthetic concerns in the development of appropriate treatments. BACC conservators are regularly engaged in technical analysis procedures, such as the study of paper composition and manufacture, which support art historical research. The variety of works on paper that are brought into BACC for treatment provide excellent learning opportunities for internships.
Collection-based institutions have utilized BACC’s paper conservators in the evaluation of environmental conditions and the design of storage facilities to ensure maximum protection for their holdings. Such projects have involved collections consisting of thousands of individual works.
Routine treatment procedures for works on paper include cleaning to remove surface dirt, bathing to reduce stains and to flush deterioration products from paper, stain reduction steps, mending of tears, removal of old repairs or adhesives, reinforcement to enhance stability, and re-housing with preservation quality materials. Our paper conservators are trained to address both structural and aesthetic concerns in the development of appropriate treatments. BACC conservators are regularly engaged in technical analysis procedures, such as the study of paper composition and manufacture, which support art historical research. The variety of works on paper that are brought into BACC for treatment provide excellent learning opportunities for internships.
Collection-based institutions have utilized BACC’s paper conservators in the evaluation of environmental conditions and the design of storage facilities to ensure maximum protection for their holdings. Such projects have involved collections consisting of thousands of individual works.
Painting and Polychrome object CONSERVATION
BACC conservators are well qualified to address all aspects of a painting’s condition, whether the work is an old master painting on canvas or wood panel, an in situ mural, or a contemporary work composed of new or atypical materials. Our experience extends from fifteenth-century Florentine panel paintings, to French impressionists including Monet and Pissarro, to noteworthy modern American artists such as Ellsworth Kelly and Andy Warhol.
Many things can affect the condition of a painting—age, environmental factors such as relative humidity and temperature, inferior materials, vandalism, or simple neglect. Flaking paint, warped and split panels, and torn, deteriorated, or aged canvas are some of the common condition problems that can impact the aesthetic or structural integrity of a painting.
Accurately assessing the underlying cause of structural or aesthetic problems is the key to developing appropriate treatments. An understanding of the work’s historical context, materials specific to the object, and the history of earlier restorations and repairs are equally important. BACC paintings conservators are experienced in technical analysis procedures such as pigment analysis and infrared reflectography, which support art historical research.
Frame Conservation
Original or artist’s period frames, particularly those commissioned for a particular work of art, are central to the aesthetic appreciation and historical context of that work. Frames often fall prey to a range of adverse circumstances. Poor environmental conditions and improper storage are common afflictions. Rough handling and bad repairs, often made by amateurs, are also common sources of damage and disfigurement.
BACC’s frame department is experienced in all aspects of framing and frame restoration. Cleaning and removal of overpaint can enhance a frame’s appearance. For frames in need of more serious assistance, BACC offers structural repair and ornament reconstruction. Recarving, casting, gilding, and refinishing frames of plaster, gesso, or carved wood can bring new life to old frames.
BACC’s frame department is experienced in all aspects of framing and frame restoration. Cleaning and removal of overpaint can enhance a frame’s appearance. For frames in need of more serious assistance, BACC offers structural repair and ornament reconstruction. Recarving, casting, gilding, and refinishing frames of plaster, gesso, or carved wood can bring new life to old frames.