Dry cleaning and the removal of degrading tapes, mount board and poor quality backing materials. 

Preservation also, includes the "re-housing" of the art work using conservation standard or museum grade mount materials with good framing.  Re-housing your picture in conservation materials prevents further deterioration (providing the art work is not stuck or glued to an acidic paste or backing board).

 UV Filter glass is also recommended in framing especially with watercolours to prevent the fading of water colour, ink and other sensitive media.



Conservation includes Preservation, mentioned above, and can include the removal of acidic backing materials too.   

Conservation also includes gentle water cleaning treatments which clean the support (the paper) on which the media is placed. 

Water treatments allows the media to look as the artist intended it to on a paper that is clean.  With watercolours the water colour is also cleaned by using a gentle treatment which allows the pigment to be cleaned without dislodging it from where the artist intended it to be. 

Each water treatment is planned to suit the picture being conserved.   

If required a light chemical treatment designed to further lighten staining can be used.  Lisa uses a special solution which reduces and removes staining while conditioning the fine paper fibres.  This solution is gentle and effective.  A special solution Lisa learnt from Keith Homes - one of the most highly respected British Paper Conservators - who conserved works of art on paper for London's Science Museum and the Imperial War Museum.

Stained paper, for example, can be caused Acidic backing boards in framing.  This is a cause of acidic staining (see example above with detail on a Lowry picture).

Time or age stains, environmental effects and more commonly,  oxidised mould spores  - sometimes called 'foxing' - are other causes of paper staining as well as water damage. 

(see the transformation here - with a Lowry picture after Conservation)



Restoring the picture back to the artists original intention.  This requires intervention with retouching work.  Here you can see evidence of Lisa's meticulous skills.

Detail of Poster before restoration (pictured below)

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Detail of Poster After Restoration

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Research work.

Baudains Art Conservation can help you authenticate and date your work of art. 

Lisa also studied the History of Art at the Courtauld Institute of Art and gained her Post Graduate Diploma in 2001. This provided her with a solid grounding for Research of which she has some good experience.   

She has used the British Library as well as the Tate Archives and the British Museum Print Room, among others, to identify works of art.  She has also corresponded with professors and experts in the Art World, for example, from the National Gallery, who would be responsible for authenticating artists.

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DISCLAIMERAll works should be insured by the client for travel, fire, theft and flood damage under the ‘goods in trust’ insurance as work carried out by Baudains Art Conservation is at the owner’s risk.  

For Oil Paintings on canvas or wood panel support Baudains Art Conservation is happy to recommend Susie Pinel at Miniature & Fine Art Conservation(Jersey) Ltd on 01534 853969 or

Please see this wonderful Oil painting of Lily Langtry restored by Susie, pictured below.

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Picture credit: Jersey Heritage.

Susie is an experienced Oil paintings conservator with a highly prestigious career having been appointed to restore miniature paintings in the Royal Collection at Windsor Castle.  She has also worked for the Duke of Devonshire at Chatsworth House as well as for Jersey Heritage and the Earl of Jersey.  Please contact Susie for your Oil paintings conservation and restoration by email: or phone 01534 853969.