Conservation Projects

 Mask and Wig Club Conservation Project

Conservation project while working with Evergreene Architectural Arts in Philadelphia, PA.

We had to salvage two caricatures by Maxfield Parish that suffered extensive damage due to a fire and numerous restoration attempts.  

It was an oil on Plaster painting that needed to be cleaned, consolidated, infilled and inpainted.

Detail of Mural Before

Detail of Mural After Inpainting of the Figure

Mural Before Re-Glazing and Infilling of Background

Mural After Re-Glazing and Infilling of Background

 Detail of Mural After Treatment was Completed

Harlem Hospital Conservation Project--Panel 2

Conservation project while working with Evergreene Architectural Arts in New York.  

We had to remove all of the murals from the walls of the building being torn down.  This second mural, a painting also by famous African American artist Vertis Hayes, was cleaned and removed from the wall.  The canvas support had to be repaired due to a number of tears and holes and then it was remounted on a honey-combed aluminum panel to be later installed in its new location. The the paint layer was consolidated, infilled, and inpainted. 

Canvas Repair on the back of the mural

Removal of the Facing

 

Damage found on the paint layer.  All the areas of loss had to be carefully consolidated.

Mural once it was infilled

Mural Once it was inpainted

Mural after the Conservation treatment was finished

 Santa Maria Degli Angiolini Conservation Project

Conservation Project while studying in Florence, Italy.  

This was the Removal of a 17th century Fresco Secco that was painted over the original 16th century Mezzo Fresco in the Conservatorio di Santa Maria degli Angiolini. 

 The original Mezzo Fresco was then Cleaned, Infilled and Inpainted.

Before

After

Harlem Hospital Conservation Project--Panel 1

Conservation project while working with Evergreene Architectural Arts in New York.  

We had to remove all of the murals from the walls of the building being torn down.  The first mural, a painting by famous African American artist Vertis Hayes, was cleaned, removed from the wall, consolidated, infilled, inpainted, and remounted on a honey-combed aluminum panel to be later installed in its new location.

Mural after removal from the wall

 Aluminum honey-combed panel before mural was mounted.

Removal of the protective facing

Mural after facing was removed

 Infilling

Inpainting

Painting After Conservation Treatment

Guerrero Conservation Project

 

This is an oil on canvas painting by an Ecuadorian painter (a descendant of the

famous Italian painter Filippo Lippi) in the early 1970's.

It suffered a major fall which created a large tear in the middle of the painting.

The painting underwent a cleaning, a lining, and tear repair.

 Tear

Tear Detail

Preparation of the Auxiliary Canvas.  

This canvas is used as a lining to reinforce the original damaged canvas support.

A Facing is put on the front of the painting in order to protect the paint layer from 

obtaining any further damage.

Preparation of the Paste (Glue) used to attach the to canvases together.

Removing the facing after the Lining procedure a completed.

 Tear after Lining procedure.

Tear after Infilling

Tear after Inpainting.

Painting after Conservation treatment.

30 Rock Conservation Project

Conservation Project in New York while working with Evergreene Architectural Arts.  

This mural by Spanish painter Jose Maria Sert is located in the lobby of the 30 Rockefeller Center.  

We had to remove the yellowed varnish and the tremendous amount of overpaint.  

Once the vanish and overpaint were removed, we could clearly see the extent of the previous
damage done to the mural.  In this particular section, only a shadow of the original was still visible.

Little by little we began re-instating the original design with the aid of an original photograph
using a pointilistic technique.

Section of the mural once conservation treatment was finished.