Frequently Asked Questions
What is the difference between art conservation and art restoration?
Conservators and “restorers” differ in their education level, their approach to the treatment of an object which is reflected in core values, ethics and the methods and materials that are used.
Art conservators have formal education in art conservation which involves a postgraduate university conservation degree, specializing in a material category such as paintings, paper or objects. Conservation education is rigorous and involves a study of both art and science. Since 1977, conservators in Canada have been formally trained through a university degree in art conservation. Most restorers are trained informally, in a short course, or have apprenticed under an art restorer. Though many restorers are skilled artists or craftspeople, they lack the material science and in-depth knowledge to anticipate the impact of treatments on long term preservation of objects and to prevent damage due to restoration processes and materials.
A conservator can assess an object’s condition, the cause of deterioration or damage, preserve the object and improve appearance while ensuring maintenance of artist/maker intent and the unique makeup of the object. A conservator is not required for every restoration effort because some owners and custodians may have objects that have a lower sentimental, financial and/or historic value. For these projects, conservators are not the best choice, and a skilled restorer should be sought.
Do art conservators have professional standards and ethics?
A conservators’ work is governed by adherence to a code of ethics established by professional conservation associations. Our lab are members of and adhere to the ethics of the Canadian Association of Conservators and the American Institute for Conservation of Historic and Artistic Works.
The primary goal of a conservator is to ensure preservation of an object, archival item or artwork, a viewpoint that permeates all work. A conservator is taught to see all interventions through the lens of improving (or not hindering) preservation. Authenticity and originality are valued by conservators due to a deep respect for the artist and maker, and for the history that is implied in the original fabrication, intent and materials. Ultimately, this outlook benefits the historic and financial value of an artwork, archival material or object that is being conserved.
Conservators are conversant with preservation conditions for objects and artworks such as the ideal climate and lighting levels, installation methods, security, disaster prevention, handling methods, and exhibit and storage housings. Therefore, conservators approach a conservation treatment and project with a holistic view of the preservation of the object.
Emphasizing preservation leads conservators to choose methods that are least invasive and materials that may be more difficult to use, but are stable and reversible. For example, over time, a restoration such as inpainting may need to be removed; a conservator uses their understanding of solubility and material aging to ensure that reversibility is possible without endangering the object. A conservator also recognizes that their work should not change the original object so, for example, inpainting/retouching does not cover artist’s paint. Additionally, conservators minimize intervention, going to only the extent that is necessary to ameliorate a condition or to extend life.
Conservators always document their work for an owner, to ensure transparency and to assist with future care and conservation. An object to be treated will receive an examination to determine condition and fabrication, and a treatment proposal that outlines steps that will be taken in treatment so that the owner or custodian is fully informed about the work. After treatment, the work is documented in a Conservation Treatment Report which summarizes materials and methods used, contains images of the object “before” and “after treatment” and makes recommendations to assist in future preservation.
Is the cost greater to use a conservator than a restorer?
The cost may be similar per hour, but a conservator’s methods and materials often result in a longer project time. If the object has sentimental, financial or historic value, the retained value after a conservator’s work more than makes up for any difference in cost. If the object does not have enough sentimental, financial or historic value to the owner to warrant a conservator’s expertise, it is recommended to seek the services of a competent restorer.
Will conservation treatment lower the value of my object?
Damage or deterioration can lower the value of an object, but if a conservator skillfully and thoughtfully cleans, repairs, restores or stabilizes that object, the value of that object will be raised when compared to the value before treatment. All objects deteriorate over time, and sometimes objects are accidentally damaged. We do not treat objects that are in pristine condition, so our work will always add value. To do this, our conservators apply specialized stable materials and scientifically proven techniques to ameliorate damage or the symptoms of deterioration while ensuring that the original object integrity and authenticity is preserved. When done in this way, professional conservation treatment maintains or increases value. We recently completed an involved treatment for a painting which was recognized in a published professional appraisal: “It was especially encouraging to see that the collector had this work extensively restored by Fraser/Spafford Ricci, who corrected various defects and removed a poorly done previous restoration, which has substantially increased its marketability.” The appraised value of this painting doubled as a result of the high-quality documented conservation treatment that it received in our lab.
What is the process for initiating conservation for my work of art, object or archival item?
Contact us by email through this site, to our general contact email or to a conservator on our staff. We can also be reached by telephone. There is a small charge for formal examination, a conservation proposal and a cost estimate for conservation. We cannot give any estimates over the phone and we do not give estimates without adequate images and data. Please refer to our Contact Us page for further information.
When you contact us, please let us know what service you require. If you are inquiring about conservation of an object or a work of art, please describe the artist or maker, title or name, date, media or material, dimensions and any distinguishing number (e.g. accession number). We may respond by email asking you for images to be sent as emailed attachments; we normally like to see images of the front, the back, and the object in unflattering lighting such as side lighting to show differences in planarity, and any details of the object that show areas of concern, damage or deterioration.
Every object we have conserved has value to the owner or custodian, whether financial, historic, artistic or purely sentimental. We do not judge the value of an object and we are not qualified to provide appraisals. Some local appraisers are listed in the Resources section
During and after preparation of a proposal, we are very pleased to talk with you in detail about processes, expected outcomes and the preservation of integrity and historic character of your artwork, object or archival item. If you would like to proceed with conservation work, we take a deposit prior to starting. After a project is completed, payment is due upon pickup of the object. For objects that are being delivered, payment is due prior to shipping after the client has been sent a treatment report and images of the work.
Do you provide examinations and estimates?
We provide in person examination for artworks to assess artwork condition, for the purposes of proposing and estimating conservation treatment and to make conservation recommendations. We can provide the same information from images, but an in person examination is required to ensure accuracy in an assessment and estimate. There is a charge for our time in examination, condition assessments and to provide a proposal or estimate. If we visit your location, there is an additional charge for travel.
Do you provide insurance on my artwork or object?
If clients are concerned about insurance coverage for their artwork, archival material or object, they should make sure they are covered under their own insurance. We do not provide insurance coverage on client goods in our laboratory or in transit. On request for certain projects, we can purchase insurance specific to the object based on an appraised value, which is charged to the client.
How much will it cost?
The artwork or object is examined in our lab or through images, and a proposal is prepared with a cost estimate (see above). The cost of conservation is calculated based on an hourly rate and materials. Cost will vary by object size, object type, by the condition, and the extent of conservation that is required. Our minimum charge for a treatment is $500.
How can I get my artwork to you?
Artworks are brought into our lab by appointment. They are also sent to us locally, from cross the country and around the world. We recommend the use of fine art transit companies for most objects. Packing and boxing/crating should be suited to the artwork or object that is travelling, and the quality of transit. We can advise on appropriate packing and crating for different forms of transit. Some Canadian fine art transit companies that we use are contained in the Resources section.
Do you do framing or frame restoration?
We will do matting and framing for artworks that are being treated in our lab, and we are well suited to matting and framing unusual and delicate materials. Our methods follow archival and museum best practices. Frame restoration is done in the lab on a limited basis; extensive frame restorations and re-gilding is referred to local frame restorers, with some local restorers listed in our Resources section.