Don’t Throw Out That Bedraggled, Cobweb-Ridden Old Painting
The Privileges of Owning Art
THE OIL PAINTING YOUR OWN is often more valuable to you than an Old Master in a museum. It may be an ancestor’s portrait, handed down through generations or, a painting that was always in the family. For each of us, it is probably of greater value, especially should this work of art, become seriously damaged or destroyed, It is important to remember that the value of a lost work of art can be incalculable.
How to get Professional Art Advice
London, Paris, Amsterdam, New York. In these cities, if you own an old oil painting, the principal art museums want to meet you. Your painting will receive a complimentary consultation and advice on maintaining it in good condition. Picture owners living outside these metropolitan centres who seek advice about an old or damaged painting that they own, often find this type of help inaccessible.
Profit from Free Paintings Evaluation for, in other respects, hard-to-reach and useful information, to preserve and restore your old painting.
Deciding to save what might, at first sight, appear to be a worthless, bedraggled scrap of old canvas that is in such bad condition that, it is ready to be discarded. requires the rare skills of a museum’s Old Master Paintings restorer. Possesssing the arts and scientific knowledge of paintings conservation they will undertake to reveal the work of arts previously hidden beauty.
Taking this uniquene decision, your family any yourself are possibly revealing the magic and beauty of a long gone Old Master. You may be Saving and preserving this painting for future generations that has, perhaps, been lost forhundreds of years.
Helping you save your valuable art
Matthew Moss will make a one-time evaluation of an old oil painting in your possession. You will receive advice on the work of art’s condition, state of preservation and suggestions about maintaining your painting in good condition. In addition, the potential restoration the work of art may need in order to preserve it for future generations. To benefit from this research, complete and submit the needed information below.
Create Email
Please fill in the form below then click Create Email. This will open your regular email application with a new message into which you can attach any relevant photos of your painting.
Authority, integrity and Discretion
Matthew Moss is the founder and the prior chief of the Conservation Laboratory for the restoration of the National Gallery of Ireland in Dublin.
He graduated from the Italian government’s Rome, Istituto Centrale del Restauro Together Rome worked jointly with Matthew in the conservation of the Irish worldwide important Old Master collection.
His prior projects included collaborating in the restoration of Andrea Mantegna’s frescos from the church of Eremitani, Padua extensively damaged by allied bombing in 1944, Not least was his intervention in Giotto’s Saint Francis’ frescos in the Basilica of Saint Francis in Assisi.
Notable was his conservation of Orazio Gentileschi’s 1605-1607 David and Goliath in the Irish National Gallery collection. Subsequent, in the 1980s he restored and published a researched project on Artemisia Gentileschi canvas Distraught Young Mother Breastfeeding Her Infant that revealed the technique and close affinity of the father and daughter painter’s style.
Matthew, like curators in other major European art museums encourages possesors of old degraded and damaged paintings to voluntary consul him at Monte-Carlo, here in the Principality of Monaco
MATTHEW MOSS in his conservation laboratory. In the foreground, Bernardino Lucinio (sixteenth-century Italian school) Adoration of the Shepherds and, Background, Gustav Doré (1825 – 83), Rest on the Flight into Egypt.
Three Stages in the Restoration of a Painting
Saint Catherine – Hendrik van Balen (Antwerp 1575-1632)
The painting is a lost work by the artist. Image shows the painting after its discovery and just before its conservation.
Saint Catherine – Hendrik van Balen (Antwerp 1575-1632)
As the conservation proceeds the beauties of the Old Master, for long concealed beneath the oxidized varnish reveals the figure of Catherine and, on the left, the Rubens-like cherub.
Saint Catherine – Hendrik van Balen (Antwerp 1575-1632)
After the final phase of conservation, Hendrik van Balen’s Masterpiece is revealed in all of its original beauty.