Parsons GreenFulhamLondonSW6 4UH

Painting Restorations

Specialist Oil Paintings Repair and Restoration

Phone Number: 07768 470473

Fine Art Cleaning and Restoration

Often, the colours of older paintings have a brownish, yellow tint. This is caused by an organic varnish that has yellowed with the flow of time. Such tints could end up being so opaque that no real colour or detail of history is visible. Making the actual painting appear to have virtually vanished. When this happens, it's time to take the painting to a professional restorer for a complete clean. 

When keeping your paintings, you must know just what can create dirt build-up and damages. The most fundamental part of cleaning a painting is protective. It's much easier to secure your artwork from dust and also damages compared to it is to clean it. For dust or visible grime building up externally of your work, you could do the basic cleaning yourself. 

Do not use cleaning products

This should go without saying. Lots of chemical cleaning products are abrasive or have colour-changing properties. At the very least, they'll stain the paint. They could also wear off at the materials. Lots of cleaning items will damage your artwork permanently; it's better safe than sorry.

Varnishes are likewise affected by atmospheric conditions, changes in temperature, humidity and sunlight. Over several years the transparency of the varnish will become clouded as well as discoloured. Often resulting in an image being considered as if via a brownish-yellow or perhaps brown filter. "Blooming" may form as a result of damp atmospheric conditions. 

The transparency of the varnish, as well as sometimes even the glazes in the pigment layers, end up being "frosted" or milklike. Oil paints mounted behind glass are typically found to have "blooming".  Caused by condensation on the inside of the glass, reacting with the varnish film. All these situations can be identified by a skilled conservator that will suggest "cleaning" and even varnish removal.

Fractures to the painting surface, are additionally brought on by a variety of complex communications between the support (canvas, composition board, paper or timber), the primer as well as the pigment layers.