·Please write a detailed description of your artwork and areas of concern, include small kb digital photos for initial contact.
Welcome, my name is Timothy Burica. As a PA (Professional Associate) member since 1989, of the A.I.C. {American Institute for Conservation of Historic and Artistic Works} and long time member of I.I.C. {International Institute of Conservation}, I am dedicated to preserving art and artifacts for future generations, and pledge to uphold the A.I.C. Code of Ethics and Guidelines for Practice. Conservators do not authenticate, appraise, deal or sell art. The use of Materials and Methods for treatment are carefully undertaken for the preservation of the aesthetic, conceptual, and physical characteristics of the work of art, considering future effects of those conservation materials incorporated into the artwork during the repair process. Respect for the artist’s original decisions regarding materials, methods, construction and conceptual ideas allow me to select appropriate conservation techniques.
After the artwork is examined, clients receive a detailed Condition Report and Conservation Treatment Proposal including digital pictures documenting current condition. I can then implement recommended treatment options such as reconstruction of support elements, distortion repair, tear mending, and lining or unlining the canvas as necessary. These initial repairs are followed by compensating losses, cleaning, in-painting, and applying fresh varnish.
My own training, studies, observations and research have given me many ideas and opinions about art techniques and process. I care very much about materials preparation, canvas types and sizing, grounds, paint layers, as well as different varnishes and applications. As a conservator, I am interested in the structural needs to build up a damaged surface layer in order to achieve correct final surface effects. Surface damages are always difficult to repair, whether on a painting, a work on paper, or a sculpture. I would avoid lining a painting and even remove previous linings is possible, because while some linings are successful, most will hold down a canvas but with a detrimental affect on the original canvas surface.... just go to the museums and see how popular full linings have changes the surfaces. Lining a painting should only be done if there is no other possible way to live with the cracks or deformations the lining is holding down. Linings are hard to reverse, they often "kill" the beautiful live-look of a fresh canvas, they cover the reverse side, artists often sign or write on the reverse side of canvases. There are other options to lining, such as 'loose-linings' or localized mending of tears and cracks. So try to keep all original materials if possible and keep original surface texture and sheen when possible. Varnish removal and surface cleaning are different techniques. Personally I try to do full cleaning, removing discolored varnishes, especially if they are poorly applied and/or mulitble layers. A good Varnish coating is a beautiful thing, difficult to achieve, easy to over apply creating a thick glossy coat.
I have over twenty years of experience working with private and corporate clients, galleries, dealers and collections. All information remains secure and confidential. Please contact me for gallery and auction house pre-sale examinations. Benefit from my expertise before the sale, via digital email photos, and verbal discussions.
Click on Image for larger picture of thin paper loss...
Click on Image for larger picture of Microscopic image of double signature
"Ink Blots" very cool!
Unfortunately, I see more paintings and works of art on paper damaged by inappropriate framing than by age or accidents. Therefore, I will provide specialized knowledge and recommendations of the technical framing components necessary to avoid future damage. Some of these conservation concerns include the proper mounting, hinging, and glazing methods that safeguard against damage from UV light or poor mounting. Without a doubt, framing a work of art makes the painting or work on paper look great, but I see the damages improper framing methods typically make on artworks. I love frames because I love works of art; often it's the framing process that damages the repaired work of art after it leaves the conservator. Please make sure your framer cares about your work of art. It is important that a framer knows where and how to hinge a work on paper properly. This step is so easily damaging and unfortunately not repairable. With works on stretched canvas, the framer should know how to fit a painting into a rabbeted frame or a float frame. Both styles are often done incorrectly, even at museums and galleries. Throughout my career I have heard many artists’ complaints about improper framing: their face-side edges were covered, their signatures were covered with the rabbet of the frame, screws and nails were applied to their stretchers inappropriately. It is important to be aware of proper framing procedures to avoid damage to the artwork.
