One of the great truisms is that the only constant is change – a fate that museums, galleries and collectors are in perpetual contention with. Across collections around the world lie objects, that by all normal terms, should have long ago perished – centuries-old texts, paintings smuggled out of war zones and sculptures rescued from floods. That these objects persist is by the grace of conservation, a science and art that aims to maintain, preserve and restore cultural heritage. 

William Leonard Annois 'Treasury Gardens'

Joseph Banks – ‘Florilegium Syzygium Suborbiculare (Bentham) Eugenia Cymosa- Plate 125’

Over our tenure, we have worked with collectors and conservators to restore paintings, prints and works on paper. Recently, we had Dorothy Braund’s ‘Dirty Dishes’ conserved for a collector – it was varnished, cleaned and cleared – but not stripped of its character. Braund’s dishes were not to be sterilized. The process of conservation is one of care, rejuvenation and protection, not fundamental transformation. 

Norman Lindsay’s etching on paper, ‘Where Life Begins (Hyperborea)’ (1923), was also recently conserved for a collector. It was in dire straits – yellowed and acidic, flecked with frass (fly feces) and gnawed by silverfish. Our conservators, experts in conserving Lindsay’s works on paper, brought the etching back from the brink, restoring its luminosity, structural integrity and hygiene. In the process, they revealed aspects of the work that were until then unknown to us, including Lindsay’s use of Japanese made paper over European.  

Conservation Tips for Collectors 

• All paintings that are over 10 years old can benefit with a clean to remove dust and frass.

• Flaking paint can be a sign that an artist did not properly prime their canvas and can be treated with conservation. 

• Yellowing paper can be a symptom of acidity and should be treated by a conservator.

• Small grooves of removed pigment and paper can be evidence of pests. These blemishes can be restored, but make sure you don’t have an infestation.

• The best conservation is prevention – invest in museum-grade framing, keep works on paper out of direct light and manage climate fluctuations. This means no paintings above open flames, in bathrooms or frequently flying between hemispheres. 

Conservation can be a surprisingly philosophical and political act. Where is the line between restoration and replica? What happens when the very media an artwork depends upon becomes obsolete? How do you conserve ephemeral acts, like performance art or manage destruction and decay as an aspect fundamental to a work of art? In working to protect cultural heritage for posterity, conservators grapple with profound existential questions, performing feats that feel both magical and medicinal. They are forensic investigators, trauma surgeons and historians, ensuring the objects we cherish – and the histories they speak of – do not fade into oblivion. 

Anne Marie Hall 'Poppies'

Charles Blackman 'Mother and Baby'

To find out how we can conserve and protect your collection, reach out or visit our Collection Services.