The cost of conservation treatment is based on experience, expertise, location, type of treatment, studio overhead, and materials used. Conservation treatment cost is never based on the value of the painting itself and conservators cannot comment on the value of a painting as that is an appraiser’s job. Most conservators will also charge for examination prior to treatment.

I treat oil, acrylic, and mixed-media paintings on a variety of substrates—including linen and cotton canvases, metal, wood panels, and many unusual materials chosen by contemporary artists. While I will treat some older paintings, I typically work on those created between 1850 and today (modern and contemporary paintings).

Several visible signs may indicate that your painting requires conservation to stabilize its condition and/or improve its readability. These include discoloration from surface dirt, grime, or aged varnish, flaking or lifting paint, tears, holes or punctures, warping or buckling, water, fire or pest damage, mold or mildew, cracking, vandalism, accidental damage like food splatter or abrasions, and overpaint or prior restoration work.

Even if there are no obvious signs of damage, it’s a good idea to have your collection assessed periodically to ensure paintings remain in stable condition and to address any hidden issues before they become major agents of deterioration.

When you Google, you’ll see “art restoration services” much more commonly than “art conservation services.” Because the term “restoration” is more widely recognized, many art conservators use it in communication with clients or online to describe their work. However, true conservators follow the ethical guidelines of conservation, focusing on stabilization and preservation, not returning the artwork to a "like-new" state if that might damage it or go against the artist’s intent. They might use both “conservation” and “restoration” when speaking to clients (whether those clients are private collectors or art galleries), but they treat paintings with a conservator’s approach.

To ensure your piece receives the right care, ask a conservator or restorer about their training, materials, and approach. Clarifying whether they follow conservation principles (minimal, reversible intervention) can help you determine if their process aligns with your goals and ethos.

Yes, but it depends on the extent of the previous work. Removing overpaint and addressing improper restorations are common in conservation. However, undoing previous treatments can be challenging if the materials used are not differently soluble than the original paint layers. This process requires meticulous research, testing, and patience to ensure the original materials remain intact while removing inappropriate or damaging interventions.

Treatment times vary depending on the size, condition, materials, and complexity of the painting. It can take anywhere from one week to many months. For example, cleaning and minor repairs might take a few weeks, while addressing significant structural damage, stubborn undulations in the canvas, or extensive overpaint could require months of careful work. A detailed timeline is provided after an initial assessment and treatment proposal to set realistic expectations for the process.

No, I only treat paintings and painted objects. I will not treat textiles, works on paper, books, ceramics, sculptures, or other objects unless they have a substantial paint layer or require a very basic cleaning with dry methods (brushing and sponging, for example). While some people who call themselves “restorers” will restore many different types of objects, most trained conservators will only work on objects within their specialty.

Yes, I have experience treating paintings affected by floods, fires, mudslides, and other disasters. These cases often involve a combination of structural and surface treatments to stabilize the painting and mitigate further damage. Quick action is critical after a disaster, so I recommend contacting a conservator immediately to assess and address the damage. You can learn more about disaster mitigation here.

I have worked in paintings conservation since 2013 and have conducted environmental analysis and implemented climate control measures for museums since 2017. For eight years, I studied under Head Conservator Eugena Ordoñez and worked at Painting Conservation & Research in Marina del Rey, California. Now with 11 years of experience as a paintings conservator, I work privately from my studio in Paso Robles, California.

I also contribute to the museum studies and preventive conservation fields as an instructor for the Northern States Conservation Center where I teach "Condition Assessments," "Care of Paintings," and "Museum Cleaning Basics" several times each year.

My education includes a BA in Art History from UCLA, an MA in Preventive Conservation from Northumbria University, and a variety of studio art and chemistry courses from College of the Canyons in Santa Clarita. My studies at Northumbria University also included environmental science, chemistry, and physics coursework.

Yes, I serve private collectors, museums, art galleries, auction houses, historic houses, and other institutions. I am also happy to work with your insurance company after a disaster (fire, flood, or mudslide) and after damage caused by a break-in, vandalism, etc. Each client receives customized preventive conservation recommendations and interventive conservation treatment proposals tailored to the needs of their paintings. Sometimes, that’s a single family heirloom but other times, it’s a few art collections spread across multiple locations requiring condition assessments and care plans.

After an initial assessment, I provide a detailed treatment proposal and cost estimate tailored to your painting's needs. Costs depend on the size, condition, and complexity of the painting, and estimates are designed to reflect the time and materials required for ethical and professional care. There are no hidden costs, and I am transparent throughout the process.

I follow the AIC’s Code of Ethics and Professional Guidelines, which you can read here. This includes observing principles of minimal intervention and reversibility, ensuring all treatments respect the artist’s intent and painting's history. By using archival materials and reversible techniques, I allow future conservators to revisit my work if necessary. My goal is to stabilize and preserve each painting while maintaining its authenticity and honoring the artist's intent.

Yes, all materials used in conservation are stable and reversible. Reversibility ensures that my treatments can be removed or improved upon and that future treatments can be applied without harming the painting. Materials like archival varnishes, water-soluble adhesives, and watercolor paints are used for their compatibility with the original artwork, differing solubility/polarity when compared to original materials, and their ability to be removed safely if needed.

Conservation can improve the appearance by cleaning or addressing damage, but the goal is to preserve the original artist’s intent without over-restoring. The aim is not to make the painting look brand new but to stabilize it and enhance it while respecting its age and history. After treatment, many paintings appear cleaner, more saturated, and more legible.

In some cases, the change will be dramatic and could be shocking if you are used to the surface dirt or discolored varnish that obscures the paint layers. However, the change will not be visually dramatic in many other cases.

During an examination or condition assessment, I thoroughly examine the painting, document its condition, and later create a treatment plan outlining recommended steps. This involves looking for signs of damage, testing materials to understand their behavior, and considering the painting’s history. The assessment results in a detailed proposal and cost estimate/timeline tailored to the painting's unique needs.

Yes, in most cases, I can carefully remove aged, discolored, cigarette-smoke laden, or otherwise yellowed varnish using tested methods that won’t harm the underlying paint. This process often involves testing solvents and solvent gels to find the safest and most effective solution for your painting. Removing old varnish can dramatically improve the clarity of colors and details while preserving the paint layer underneath. However, if the artist, gallerist, conservator, restorer, or owner used an incompatible varnish to coat the painting, I might not be able to remove it with today’s methods and materials.

Yes, I provide condition assessments, display recommendations, and custom storage or transportation solutions. Preventive conservation focuses on avoiding damage before it occurs so that your paintings remain stable and protected over time.

I’m happy to provide updates and photos of the process, though conservation is conducted in a controlled studio environment for safety and precision. Detailed documentation, including before-and-after photos, is a standard part of my services to keep clients informed and provide a record of treatment.

Yes, I offer preventive conservation consultations for large collections. I also teach several museum studies and conservation courses through the Northern States Conservation Center: Care of Paintings, Condition Assessments, and Museum Cleaning Basics.

I offer a range of preventive conservation services designed to protect your painting from environmental damage, mishandling, or deterioration over time. These include backing boards, UV-stable varnishes, proper framing, archival materials, storage and transport solutions, and display recommendations.

Preventive care not only extends the life of your painting but also reduces the likelihood of costly interventions in the future. Contact me to discuss how these services can be tailored to your painting’s unique needs.

Addressing active flaking paint, mold, pest damage, or water intrusion is most critical, as these issues can quickly worsen if untreated. Minor issues like surface grime or yellowed varnish are less urgent but still important to maintain long-term stability.

A professional assessment is recommended every 5-10 years or whenever you notice changes in the painting’s appearance (like discoloration, cracking, or slackening of the canvas). For paintings in high-risk environments (like homes on the coast that are not well climate-controlled), more frequent check-ups may be needed.

Yes, I can assess and conserve frames, particularly if they are integral to the painting’s history. This includes cleaning, stabilization, consolidation, inpainting, filling, and other types of repair for gilded or painted wooden frames.

We recommend against cleaning a painting yourself, as improper cleaning methods or materials can cause irreversible damage. Always consult a conservator before attempting any cleaning—even if you’re trying to mitigate mold growth or water damage.

Paintings should be transported in a stable, padded environment, preferably within a custom crate or protective wrapping that does not directly contact the painting’s surface. Avoid exposing the painting to temperature and humidity fluctuations during transit.

Avoid touching or attempting to clean the painting. Secure it in a stable, climate-controlled environment and contact a conservator immediately for an assessment. They will help you preserve your painting for future generations.

While most treatments are best performed in a controlled studio environment, I can provide on-site services for certain assessments and interventive or preventive care, depending on the painting’s needs and the location. For example, I might perform minor inpainting on-site or try to stabilize a painting after a disaster before transporting it to my studio.

Conservation can enhance the appearance and stability of a painting, which may positively affect its value. However, the primary goal of conservation is to preserve the painting, not to increase its market value. We will never appraise or comment on the perceived value of a painting—nor will we say that treatment will increase the painting’s performance at auction or sale. We recommend that you work with an auction house, gallery, or certified appraiser to assess the value of your piece.

Yes, I provide detailed reports, including before-and-after photographs, descriptions of treatments performed, and recommendations for future care.

Yes, I can provide condition reports and documentation that may assist with insurance claims for paintings damaged by disasters, accidents, or other events. I can also work directly with your insurance provider.

If a painting is too fragile or damaged for meaningful conservation treatment at this time, I will likely recommend that you wait until more advanced techniques and materials are available to conservators. In the interim, I might recommend some sort of stabilization to prevent further deterioration. I’ll also provide guidance on how to preserve it as safely as possible while you wait. I will not offer false hope.

I specialize in pre-modern, modern, and contemporary paintings, which means that I typically work on oil, acrylic, and other paint formulations, but I can also advise on or collaborate with specialists for pieces incorporating mixed media, non-traditional surfaces, or unconventional materials.

Yes, I offer condition assessments, treatment plans, and preventive care for entire collections of paintings and painted objects, whether for museums, institutions, or private collectors. I also offer preventive care recommendations for other objects.

No, painting conservation and painting restoration are distinct, but the terms are often used interchangeably. This is how they differ:

Restoration: Returning to an "Original" State for Cosmetic Purposes

What is painting restoration? Restoration focuses on bringing a painting back to what is perceived as its original or intended appearance. This may include both structural and cosmetic treatments like mending tears, consolidating cracks, removing and reapplying varnish, and painting areas of loss.

While art restoration services can improve a painting’s appearance, it often also alters the artist’s intent, historical integrity, or original materials. For example, excessive inpainting (called overpainting) or removing elements to fit modern aesthetic expectations can muddy the artwork’s authenticity or distort its historical narrative.

Restoration often aims to make the painting look “new,” which, in some cases, conflicts with ethical approaches to preserving cultural heritage.

Conservation: Preserving and Stabilizing for the Future (While Improving Aesthetics)

What is painting conservation? Conservation prioritizes stabilizing the painting in its current state, respecting its history, and extending its longevity through reversible techniques, archival materials, and minimal intervention—all of which improve a painting’s aesthetic appearance and long-term stability.

For example, in conservation, we might use watercolors and water-soluble fills to address paint loss on an oil painting, ensuring the treatment can be reversed later. Patches, adhesives, and other mends are also reversible. Cleaning involves carefully formulated solvents and chelating agents to remove dirt and aged varnish without damaging the paint or ground layers. 

Conservation balances readability (making the artwork understandable and aesthetically coherent) with stability to ensure that the artist’s intent and the painting’s history are preserved.

At my studio, I carry property and liability insurance to protect paintings up to a certain value while they are in my care. However, the value of your painting might exceed the coverage limits of my policy, and I recommend that clients consider additional insurance options for optimal protection.

You may choose to secure a fine art floater through your homeowner’s policy or invest in a separate fine art insurance policy. These policies are specifically designed to cover high-value items like artworks, including during periods of conservation or restoration.

While some clients, particularly private collectors or cultural institutions, may choose to waive additional insurance coverage, this is not typically advised. The decision depends on factors such as the painting's value, the time required for conservation, and the level of risk you're comfortable assuming.

If you have questions about the specifics of my insurance coverage or how to secure your own, feel free to ask.

I specialize in the conservation of pre-modern, modern, and contemporary paintings because these works often involve unique materials, techniques, and challenges that align with my training and expertise. Paintings from these periods may feature complex synthetic paints, mixed media, or unconventional supports that require specialized knowledge of modern materials and their behavior over time. My practice is tailored to address the distinct needs of these works.

Pre-19th century paintings (like Baroque or Renaissance) often require a different skill set and approach. Conservators who focus on this era are trained extensively in the use of historical materials and processes specific to those artworks. By focusing on pre-modern to contemporary paintings, I can provide quality care for pieces within my area of expertise while respecting the unique requirements of earlier pieces.

If you have a pre-19th century painting in need of conservation, I’d be happy to examine it to see if it does align with my expertise and experience. If it does not, I will refer you to a qualified specialist who is experienced in that period and its specific challenges.