Most of the time the necessity of finding an art conservator is prompted by a disaster - something happened and the art needs to be fixed. It is important to consider your choice since the treatment can have long-lasting effects. In 1966, the flooding in Florence, Italy was the disaster that prompted the art world to find conservators. The conservation of art was a little known profession. Art restoration was in the hands of the museum, the picture framer, artist, art gallery, or any clever craftsperson; few practiced conservation as their only business.
The magnitude of potential loss prompted the world’s art community to find out how to care for art. Art conservation is a profession, with many ongoing research programs to understand how art is damaged and what can be done to prevent and repair it.
Your choice of a conservator should be made thoughtfully; your choice should not be based solely on an advertisement or phone book listing. If you have had no prior experience, check with someone who has first-and knowledge. Ask a picture framer, local museum, art gallery, or collector for a referral. Do not hesitate to discuss the problem and the proposed treatment. Ask for a written estimate. Ask about their experience and training; ask for references, and do not hesitate to check them.
Proper conservation is performed in a manner that will best extend the life of the item, not a quick fix to make it look good. True conservation is labor intensive, careful time-consuming work to repair damage brought on by accident, age, and even inherent problems of original materials and techniques. The cost of conservation can often exceed the estimated monetary value of the item. If it has sentimental value or is a keepsake, the only course of action is to preserve it.
Conservators, just like doctors, have areas of expertise. If your collection has a variety of art, you may need to be acquainted with more than one conservator to ensure each item has proper care. Conservation takes time; most procedures are labor intensive requiring many hours of careful work that cannot be rushed. Beware of the quick and cheap job as it usually involves short cuts that can create greater problems later. In many cases, a higher cost of restoration or conservation is due to problems caused by the previous owner, artist, framer, or friend who tried to fix it. The messed up work must be undone before the real problems can be addressed. I cannot give you any more valuable advice than to say find qualified help when you have a problem – art conservation is not a do-it-yourself activity.
Conservator