Untitled, engraving by Salvatore Rosa.

This beautifully detailed print was discoloured to a dark yellow, caused by handling, exposure and an acidic backer board.

Untitled - David Milne

This painting by Canadian icon David Milne had suffered overall discolouration of the paper, mat burn around the perimeter, and a severe brown stain splashed across the top half of the image. 

Untitled - David Milne

Conservation treatment involved careful washing and chemical bleaching of the stains and mat burn. Due to the sensitivity of the media, the piece was not able to be washed overall, but local treatments to the stains were able to remove the disfiguring marks. After treatment, the piece appears clean and relatively bright, and is ready for exhibition.

Untitled - David Milne

Extensive staining and discolouration disfiguring the upper right quadrant of the artwork, as well as mat burn and brown paper tape on the verso.

Untitled - David Milne

Detail of the upper right corner after conservation. The stains have been removed using careful local washing and bleaching, and the paper is brightened overall. Mat burn has also been reduced. The image can now be properly appreciated. 

This beautiful t9th century watercolour painting suffered extensive damage during a basement flood. The brown water stains and mould growth along bottom edge drastically marred the image.

Careful washing and chemical treatments have removed the water and mould stains almost entirely, as well as brightening the overall paper tone. It has been framed in acid-free materials with UV filtering glass. The artwork can once again be appreciated as it was meant to look.

Balgonie, watercolour on paper.

Acidic framing materials had caused dark brown bands of discolouration across the image, and the paper had darkened overall.

Balgonie, watercolour on paper.

After washing and stain reduction. The sky is now bright and even, without the brown bands of discolouration.

Luke Worm, charcoal on paper.

The sketch had been stored folded for many years, causing creases in the paper and transfer of the charcoal media. 

Luke Worm, charcoal on paper.

The sketch was flattened and the transferred charcoal media removed, leaving the drawing clean and vibrant.

This inuit drawing had suffered water damage, causing mould growth and staining in the centre of the piece.

Mould remediation combined with localized bleaching to reduce the stains brought the piece back to life.

The paper of this beautiful print had discoloured to a dark yellow-brown tone, distracting from the overall image.

The print was washed and light bleached, and the paper deacidified. The treatment brightened the paper, removing the yellow tone, and dramatically improving the quality of the image.

Sea and Skyscape, oil on paper by Emily Carr

The acidic paper had discoloured over time, leaving areas of the sky and landscape a dark orange that the artist had not intended. Small cracks and chips damaged the work around the edges.

Sea and Skyscape, oil on paper by Emily Carr

Cleaning has restored the original paper tones and paint colours to this iconic work.