Choosing a Conservator: The Canadian Association of Professional Conservators Can Help

 Conserving a 19th century photograph album.

Conserving a 19th century photograph album.

If you are considering having an artwork or document restored, whether it is a valuable collection piece or a sentimental memento, it's important to choose a properly trained professional to undertake the work. 

Art conservation is a highly skilled and specialized profession which aims to preserve and restore cultural objects. Conservators examine, research, clean and repair artworks, while also taking action to prevent future deterioration. A trained and experienced conservator will also adhere to a set of ethical work standards designed to protect artworks and owners from damage or misrepresentation. 

But how can you find an art conservator with the right training and skills ? The Canadian Association of Professional Conservators (CAPC) can help. 

 Watercolour painting before and after conservation treatment; brown stains have been removed with washing and bleaching.

Watercolour painting before and after conservation treatment; brown stains have been removed with washing and bleaching.

The Canadian Association of Professional Conservators (CAPC) is a non-profit corporation that was established in 1971, with the aim of raising the standards of competence, integrity, and ethics in conservation in Canada. CAPC has established criteria and a peer-review process for the accreditation of conservators and conservation scientists and maintains a list of practitioners accredited through the organization. Membership in CAPC is voluntary and it does not represent all qualified conservators working in Canada, however if you want to engage the services of a professional art conservator, the CAPC directory is a good place to start.

CAPC accredited conservators have:

The directory lists art conservators accredited by the organization, and is searchable by name, province, and speciality (such as works on paper, objects, or paintings). A short biography and credentials are included for each conservator, as well as contact information.

 Jennifer Robertson of Book and Paper Conservation Services, repairing a rare book. 

Jennifer Robertson of Book and Paper Conservation Services, repairing a rare book. 

Jennifer Robertson, BFA, MAC, the owner and principal conservator at Book and Paper Conservation Services is accredited by the CAPC in the fields of book conservation and conservation of works on paper, including both fine art and archival documents. She has over 10 years experience in art conservation. She obtained her Masters degree in Art Conservation from Queens University in 2011 and spent years furthering her training at institutions including Library and Archives Canada, The Smithsonian Institution, and The British Library, among others. She opened Book and Paper Conservation Services in 2016 to specialize in her area of expertise, the conservation of fine art on paper, archival materials and rare books. 

 Conservation grade materials for paper repair. 

Conservation grade materials for paper repair. 

Book and Paper Conservation Services works with private collectors and public institutions to conserve and preserve important cultural heritage objects. Adhering to the CAPC Code of Ethics in all our treatments, we provide full written and photographic documentation, use only conservation quality materials and reversible treatment procedures, and include recommendations for future preservation strategies for all work conserved at our studio. We are passionate about art conservation and we strive to offer the best quality services for our clients and their objects.

 Surface cleaning a newspaper.

Surface cleaning a newspaper.

 Inpainting losses in a gelatin photograph.

Inpainting losses in a gelatin photograph.

We invite you to read more about the process of having an artwork conserved by us, view our treatment portfolios for fine art on paper, archival materials and rare books, and contact us directly with any questions. If we can't help you with your object and it's needs, we will direct you to another experienced conservator who can.

We look forward to hearing from you!

Fine Art Conservation: The Agricultural Art of Ross Butler

 Ross Butler -  Ayrshire Bull  - Before Conservation

Ross Butler - Ayrshire Bull - Before Conservation

 Ross Butler -  Ayrshire Cow  - Before Conservation

Ross Butler - Ayrshire Cow - Before Conservation

Ross Butler was a self-taught artist who made a lasting impression on the agricultural and art communities in Canada and the United States. Working in Woodstock, Ontario, Canada in the mid-20th century, Butler created striking idealized portraits of various breeds of livestock, and his renditions became the standard of measurement for evaluating prize animals. 

 The Ross Butler Gallery, in the Butler family barn, Woodstock, Ontario, Canada.

The Ross Butler Gallery, in the Butler family barn, Woodstock, Ontario, Canada.

His works hang in many public and private collections in Canada, but the largest collection of them remains in the possession of the Butler family; his son David maintains the Ross Butler Gallery on the family farm in Woodstock, housed in the barn his father used as a studio during the later part of his lifetime. Being primarily depictions of agricultural life, it is fitting for the works to be displayed in this setting; however, over time the fluctuating environmental conditions in the building have caused some deterioration of the artworks.

The Woodstock Art Gallery recently mounted an exhibition of Butler's work titled Ross Butler: Branding, Butter and Bulls, celebrating the artist's contribution to the community. In advance of the exhibition, Book and Paper Conservation Services was asked to treat several of the major pieces to be displayed.

  Ayrshire Cow  before conservation - raking light showing planar deformation of paper.

Ayrshire Cow before conservation - raking light showing planar deformation of paper.

These two large pastel drawings on paper, titled Ayrshire Bull and Ayrshire Cow, are prime examples of Butler's skill and precision, and were to be featured prominently in the exhibition. However, the paper was suffering severe planar deformation and a sprinkling of mould spots was scattered across the surface of both pieces. 

 Detail of  Ayrshire Cow  before conservation, showing mould spots on pastel surface.

Detail of Ayrshire Cow before conservation, showing mould spots on pastel surface.

 Detail of  Ayrshire Cow  after conservation, mould spots have been removed.

Detail of Ayrshire Cow after conservation, mould spots have been removed.

The paper supports had been adhered with wide swaths of adhesive around the edges of the verso to thick masonite backer boards; the tension of this constraint had caused the paper to ripple with the dramatic changes in relative humidity in the barn gallery. To address this the acidic masonite boards were removed from each piece, as well as the adhesive residue on the paper; the artworks were humidified in a controlled humidity chamber and flattened under weight. 

The mould spots on the surface of the pastel media were carefully removed by mechanical means, being careful not to disturb the delicate friable media. Accretions and other debris that had become trapped in the frame were gently removed as well. 

 Removing mould spots from  Ayrshire Cow .

Removing mould spots from Ayrshire Cow.

 Biological remains of the barn's other inhabitants were also removed from the artworks.

Biological remains of the barn's other inhabitants were also removed from the artworks.

The artworks had been framed with care, however the powdery surface of the pastels had been placed directly against the glass, and combined with the rippling of the paper this had caused transfer of the media to the glass.

 Artworks had been framed directly against the glass, causing the pastel to transfer.

Artworks had been framed directly against the glass, causing the pastel to transfer.

The final stage of treatment was to clean the original frames and reinstall the artworks with acid-free backer boards, UV filtering glass and spacers to separate the art from the glass and prevent further damage to the media. We do not generally recommend a fixative for pastel media, as the solution can dull the vibrancy of the colour and affect the stability of the piece in the future. 

 Cleaning surface dirt and grime off the original frames.

Cleaning surface dirt and grime off the original frames.

 Ross Butler -  Ayrshire Bull , Pastel on Paper - After Conservation

Ross Butler - Ayrshire Bull, Pastel on Paper - After Conservation

 Ross Butler -  Ayrshire Cow , Pastel on Paper - After Conservation

Ross Butler - Ayrshire Cow, Pastel on Paper - After Conservation

Conservation treatment has stabilized these two important works by Ross Butler, ensuring their continued safety and stability. The works were installed in the Woodstock Art Gallery for the exhibition Ross Butler: Branding, Butter and Bulls, which runs from February 17th to June 30th, 2018. Curated by Samantha Purvis-Johnston, the exhibit explore's Butler's contribution to the agricultural and art communities in Ontario and across Canada. 

  Ayrshire Bull  and  Ayrshire Cow  on display in the exhibition  Ross Butler: Branding, Butter and Bulls , Woodstock Art Gallery.

Ayrshire Bull and Ayrshire Cow on display in the exhibition Ross Butler: Branding, Butter and Bulls, Woodstock Art Gallery.

 Curatorial and Collections Assistant Samantha Purvis-Johnston address visitors at the opening reception of  Ross Butler: Branding, Butter and Bulls , at the Woodstock Art Gallery. 

Curatorial and Collections Assistant Samantha Purvis-Johnston address visitors at the opening reception of Ross Butler: Branding, Butter and Bulls, at the Woodstock Art Gallery. 

Book and Paper Conservation Services was pleased to work with the Woodstock Art Gallery and David Butler to restore these remarkable artworks. We encourage you to visit the exhibition this spring, and also to check out the Ross Butler Gallery in Woodstock, Ontario, which tells the story of Butler's life and work in his own environment. 

If you are interested in having works from your own collection conserved and restored, please contact us for more information. We invite you to browse our portfolio pages for other examples of successful conservation treatments. 

Family Heirlooms Restored

  Lord's Prayer  drawing before and after conservation treatment.

Lord's Prayer drawing before and after conservation treatment.

Treasured family heirlooms often come to us for restoration, and these projects are some of the most gratifying to work on. Paper-based items like family bibles, marriage certificates, portraits and photographs of ancestors can suffer damage over time that make them fragile and difficult to access. Whether you're doing genealogy research or passing things along to your children, its important to consider the condition of the object and treat it gently and safely.

We can restore your heirlooms and bring items back to their original glory by repairing and cleaning the materials, stabilizing them so that they can be safely handled, and provide advice on proper storage. Through conservation treatment, your objects can be preserved for your family to treasure for many more generations.

 Lord's Prayer, hand drawn and lettered by the owner's grandfather, dated 1837.

Lord's Prayer, hand drawn and lettered by the owner's grandfather, dated 1837.

This beautiful piece came to us recently for restoration. The hand-drawn and lettered image was executed by the owner's grandfather in 1837; the delicate penmanship had been obscured by heavy brown discolouration, caused by adhesive and the acidic backer backer board. 

 The acidic backing must be removed carefully from the verso to protect the piece.

The acidic backing must be removed carefully from the verso to protect the piece.

 Spot testing the brown discolouration.

Spot testing the brown discolouration.

 Preparing the drawing for bleaching.

Preparing the drawing for bleaching.

The treatment was a multi-step process, beginning with the removal of the backer board. This acidic wood-pulp material had caused much of the discolouration, and needed to be removed before any cleaning could be undertaken. 

Once the backer was removed, the piece underwent testing to determine its response to washing and bleaching. Both processes were successful and the staining was significantly reduced over the course of several applications. 

 Three washes removed much of the brown.

Three washes removed much of the brown.

 The drawing was washed and bleached in stages; the progression is shown here.

The drawing was washed and bleached in stages; the progression is shown here.

 The drawing after conservation treatment, in it's original period frame.

The drawing after conservation treatment, in it's original period frame.

After treatment, the piece is restored to a relatively bright and clean state. Some evidence of age is retained - it doesn't look like it was made yesterday - but the paper is clean enough that the delicate ink and penmanship can be appreciated once again. It was reinstalled in its lovely original wooden frame, but with acid-free backer and UV-filtering glass to protect it in the future. The family can now treasure this artwork for many years to come. 

If you have family heirlooms that could benefit from restoration, we are always available to discuss treatment options. Get in touch with us for a consultation and we will be pleased to help you preserve your family's history. Or, check out our portfolio of conservation of archival materials for more examples of our work.