• About

    Else Lapierre-Carden

    I am a French fine art conservator who is passionate about art. After my degree at the Atelier du Temps Passe, I worked for several years in a Paris workshop with other conservators restoring paintings on wood, copper and canvas dating from the 16th Century to the present.

     

    I have completed numerous projects for both individuals and professionals, always driven by the Code of Ethics of this rewarding profession.

     

    I am an Affiliate member of the NZCCM (New Zealand Conservators of Cultural Materials).

    Qualifications & Work History

    National Degree in Conservation of Paintings & Polychrome’s Objects Restaurateur-Conservateur de tableaux & d’objets d’art polychromes, titre CNCP homologué par l’État), 2008. Atelier du Temps Passé, Paris, France www.atelierdutempspasse.fr

    Since 2014 : Private Practice, Renaissance Tableau, Auckland, New Zealand www.renaissancetableau.com

    2009-2013 : Private Practice, Atelier Desautez-Quenessen, Paris, France www.atelierdesquen.fr

    2005-2008 : Studio Assistant, J. Agneray conservation studios, Paris, www.metiersdartpaysdauge.fr                                                        

    ADAC Association de Développement des Activités Culturelles, Paris, www.paris-ateliers.org

    Fine Art Restoration

    Art conservation is an exciting and challenging multidisciplinary field that involves the examination, interpretation, analysis and treatment of cultural, historic and artistic objects. Professional conservators rely on their knowledge of both the humanities and the sciences in order to understand the creation and production of material culture in the past and present and to ensure its preservation for future generations.

     

    The aim of the professional conservator is to stabilize, uncover, reveal and preserve the integrity of the original artwork, through minimal, well-documented treatments. Formal training and high standards of practice inform the conservator’s selection of stable, reversible materials and sensitive treatment methods, adjusted to each specific case.

     

    Preventive conservation, including proper framing, environmental conditions, lighting, storage, handling and transportation are also important concerns. Ethical principles guide the conservator’s work, as detailed in the NZCCM Code of Ethics. This publication may be viewed at:

    http://www.nzccm.org.nz/code-of-ethics

    The Workshop

    The purpose-built workshop in Auckland’s Herne Bay comprises a complete range of the required specialist tools.

    Equipment includes a full-size pressure-heating table which is able to simultaneously apply consistent vacuum pressure and heat across large surfaces. This is essential for complex operations such as the conservation of damaged canvas. Ongoing research into the latest techniques and chemical products helps ensure best practices so that work is both reversible and stable over time.

  • Services

  • Portfolio

    Recent projects before and after completion

    Fleurs

    Dutch Village

    Oil on linen canvas 18th Century

    Portrait de Flore

    copy after Titian, 19th Century

    Portrait de Famille

    Oil on linen canvas Dutch Family, 19th Century

    Detail Jeune Homme

    Oil on linen canvas, 19th Century

    Paysage

    Oil on linen canvas, 19th Century

    2 barques...

    Oil on linen canvas, 19th Century
  • Contact

    Quotes and Examination of Work

     

    A condition report, treatment proposal, and an estimate of cost are prepared after examination of the work. There is no cost for this service if the client does not wish to proceed.

     

    The major cost of any restoration work is time. Estimates by telephone cannot be given without having first inspected the artwork. Although estimates cannot be given without sight of the painting, a lot of issues can be clarified in a telephone call, or by a short visit at a convenient time.

    25 Sentinel Road, Herne Bay, Auckland
    021 206 29 05
  • Terms and Conditions

    No treatment will commence until the “Client Agreement” has been signed by the Client and returned to the conservator with a 30% deposit of the total amount.

     

    Certain operations, such as cleaning and removal of discoloured varnish, will often alter the appearance of the painting – for example brightening of colours. Any concerns should be discussed prior to work commencing.

     

    The recommended treatment may be modified or supplemented to a reasonable degree at the sole discretion of the conservator after the treatment has commenced. In the event that substantial changes to the recommended treatment prove necessary or advisable, the conservator will not proceed without the authorization of the Client. Such changes may require an adjustment to the estimated cost of the treatment. The Client will receive a detailed treatment report describing the treatment which was carried out.

     

    All work will be carried out in accord with the Code of Ethics of the New Zealand Professional Conservators Group.

    Insurance coverage for the works of art while in transit and in the conservators care is the responsibility of the Client.

    Packing and transportation cost are not included in the treatment estimate.

     

    Photographs taken to document the treatment may be used for limited educational purposes in the future. All Client details shall be kept confidential.

  • Preventive Conservation at Home

    What is Preventative Conservation?

    Preventative conservation refers to the abating of potential deterioration and damage to a painting through previously designated policies and procedures surrounding the object’s storage and handling. These measures and actions are indirect – they do not interfere with the materials and structures of the items. They do not modify their appearance.

     

    Light, heat, moisture, air pollutants, dust, dirt, insects, physical vibration and impact can lead to slow deterioration of, or sudden damage to, a painting. Paintings in art galleries and museums are kept in conditions which protect them from those things which cause material deterioration.

    Rules for the conservation of artworks

    Temperature/ relative humidity

    Temperature and humidity control is an important factor in conserving artwork, as high temperature and humidity level can result in fungi or wrinkling in the art work, and low humidity can produce art works to peel off or crack. The appropriate temperature and humidity setting differs for each art work and material, but generally, a stable temperature between 18-20℃ and humidity level between 50-60% should be kept. (e.g. the Mona Lisa is kept at 19℃ and 55% relative humidity).

     

    Lighting

    Light (visible or invisible, natural or artificial, ultra violet and red rays) causes chemical changes in many materials used in paintings.

    Ultra violet: yellowing and darkening of varnishes, discolouration of certain pigments, binders/ adhesives/ coating dissociation, varnish whitening.

    Ultra red: (temperature increase) deterioration caused by the heat (natural light or halogens)

    Make sure to put the lights distant from the painting. Use spots with a light illumination level below 180Lux for oil paintings and below 40 Lux for inks.

     

     

    Dust, dirt, air pollutants, insects

    Dust is composed of minute particles including some hard substances that can scratch paint or varnish if rubbed against the surface of a painting. Some types of dirt, including insect debris, can contain acidic components which eat into the paint surface. Similarly, industrial air pollutants can affect the paint or the finish on a frame. It is important to keep paintings free from dust and dirt and away from air pollutants.

     

    Physical vibration or impact

    Many paintings are on stretched canvas which is very susceptible to vibrational forces. Paint loss can eventuate from continual or excessive vibration. Paintings which travel from gallery to gallery are always transported in protective crates with foam padding to reduce vibration from movement and shock. Poor handling can result in severe damage to an artwork. Museums and galleries have guidelines and standards for moving works of art.

     

    Biological factors

    Artworks made of organic materials need special care and attention, as the nature of their material makes them highly susceptible to damages from microorganism (insects, fungus). Make sure your painting is avoiding dust and humidity.