Saving an English School painting.

[@marcellamp3077]

Great job, the results were amazing!

[@Figueiredoartconservation]

Thank you Marcela, for your comment. Yes, I also didn't expect such a dramatic change...

[@ivanrestorer]

Eduardo, congratulations on a great job, I think you enjoyed removing the old lacquer coating) I would also like to do this work😊 Well done !!!! Keep sharing your work)))) Thank you!

[@Figueiredoartconservation]

Ho Ivan, thank you so much for your words, so happy you enjoyed it😊🙂

[@julianmtb8954]

Very nice. Your videos are very enjoyable.

[@Figueiredoartconservation]

Thank you very much Julian, I am happy you enjoy them 😊🙂

[@LuisSilva-sw4vc]

Adoro os seus trabalhos. Continue assim…..😉

[@Figueiredoartconservation]

Muito obrigado Luis. Por asistir👌😁

[@maximhollandnederlandthene7640]

Amazing ! I never saw a painting that dirty.

[@Figueiredoartconservation]

The painting had some dirt, but in fact, all that darkness, comes from the vanish that was an antic natural resin, that did become very dark...

[@Vickie-Bligh]

Eduardo, what a beautiful painting and masterful restoration. A wonderful presentation again. Nicely done and your videography is fabulous now. I feel like I'm in your studio. Bravo!

[@Figueiredoartconservation]

Thanks so much Vickie, glad you like it. Thank you very much for your positive words about my work. I take great pleasure in making these videos, but I make them for all of you, I feel "complete" when you, my viewers, like them.😊😊

[@Vickie-Bligh]

@@Figueiredoartconservation 💖💖

[@mooonie6634]

Very interesting! Was the cardboard sealed with gesso? Given its age I would've assumed that the chemicals in the cardboard would've leeched through the sealant but it doesn't seem to be the case. One chromolithograph, a botanical print, that I restored, was produced in Britain around, I think, 1850-60's and backed by a high quality cardboard. Over a hundred years old and still not decomposing but due to the chemical nature of cardboard, the backing was replaced with some nice archival backing so it would last another 100+ years. Nice to see you back and thank you for mixing it up with these specialized techniques.

[@Figueiredoartconservation]

Hello Moonie, I am glad you watch it, this is the technic you spoke to me about, some months ago, almost in the beginning I started publishing in the channel. so the part where I remove the varnish. I dedicated especially to you. I am always afraid to refer to names, but small (jock about the moon, was to you, by your nickname moonie...) This cardboard is extremely resis†ent and very hard, and I believe that the ground layer is some kind of gesso that isolates the cardboard and then, recieved the oil paint. It is old material, according to my research, can be around 1797 or some few years later, but I would say that remains in very good condition. the back stays very well, but considering how the varnish changed color, I presume it might be this old.

[@mooonie6634]

@@Figueiredoartconservation In my mind, when the process of chromos became more widespread, it allowed more people to have something hanging on their walls they enjoyed looking at. Finally, the less monied people could have some "art" on their walls too. A lot of people turn up their noses at earlier 20th century illustration art, it also gave people something they otherwise wouldn't be able to afford. Chromoliths were my favorite to work on though.

[@nationalparksdiary3549]

I absolutely LOVE your videos! You have the perfect voice for KZbin. It seems like the paintings you show in your videos are either really dirty, really in bad shape, or both. I really enjoy the before and after of cleaning a painting - that must be so rewarding for you!

[@Figueiredoartconservation]

Thank you very much for your great feedback, I am so glad you enjoy the videos. And as you say, it is special when in the cleaning and varnish removal, the colors start to reveal. Thank you for your comment

[@TheKeystoneChannel]

What an amazing difference, I wish I could see the faces of the owners when they saw the end result!

[@Figueiredoartconservation]

Thank you Keystone for your feedback, yes it was a radical difference, and honestly agree the final result is really good. 💪💪

[@sherrillsturm7240]

Incredible!

[@k.jespersen6145]

What an amazing difference to the painting! Wow! That tissue-and-gel composite technique is amazing. I like the use of the spoon to agitate the gel, too; the gentle curve of the back of the spoon makes sense for not putting too much pressure on the painting. Your work on the frame visually tied it back in with the painting. If you had left the frame alone, it would not have looked so good with the cleaned and conserved painting. Thank you for showing the restoration of the frame, as well. Did you have to use any special techniques in inspecting this painting, since it was on cardboard instead of wood? The information about the fine paint producter to the king was fascinating. I didn't know that that was possible!

[@Figueiredoartconservation]

K. Jespersen, a big thank you for your feedback, even I, that have seen many things, was amazed by the dramatic transformation, this really has made the most skeptical, when looking at a very dirty painting, and they don't see anything special. to think twice, because something truly special can be under... I also consider the restoration of the frame very important, Soon, I will have a video about the conservation of this frame. Although it is cardboard, it is very resistant and hard, I wanted to be sure that not only the cleaning and also varnish removal, would interfere with the carton, which is based on paper. So I did confirm that there was an isolation gesso ground layer that received the oil paint but also isolated the cardboard. I am so happy you enjoyed the video, thanks a lot.

[@supernovan]

Awesome! How discoloured was that varnish, eh? Thanks for keeping the sounds of your work this time! I get what you mean about the traffic, but I really enjoyed it. It sounded like being in the studio with you. É como disse, é como somos os teus estudantes!

[@Figueiredoartconservation]

Your comment is so nice 😍 Thank you so much, I wish you a great new year. 😄

[@giangribaudi4647]

Boa tarde Eduardo, que espetacular trabalho, deu para entender muito bem essa questão da primeira limpeza da obra para depois remover com as misturas gelatinosas o verniz. Você usou dois tipos de gelatinas certo? Uma para amolecer o verniz e outra para retirar ele, eu acho que foi isso, qualquer coisa me corrija.

[@Figueiredoartconservation]

Ola Gian, obrigado por assistir ao video, eu usei dois tipos the substancias sim, primeiro apliquei um genero de gel que tem diluido diversos agentes de limpesa, isto é para remover a sugidade que se acumulou durante anos na superficie do quadro, que é atraida para essa superficie e se "cola" a ela devido á electricidade estática nela presente. Esta sugidade removida, facilita o acesso ao verniz. O segundo gel que utilizai, tem varios solventes diluidos, que pela accao de colocar naquele pedaco de tecido sobre o quadro conforme pode ver no video, ele interage com o verniz, e permite que ele seja reatirado sem aplicar tanta accao mecanica.

[@giangribaudi4647]

@@Figueiredoartconservation a ação mecânica em demasia pode estragar algumas partes da pintura original?

[@Figueiredoartconservation]

@@giangribaudi4647 A accao mecanica (por exemplo, o esfregar do algodao, quando se retira o vernis) pode remover alguma da tinta superficial original, ainda que seja uma quantidade minima... se isso poder ser evitado.. ë melhor para o quadro que esta a ser restaurado..

[@giangribaudi4647]

@@Figueiredoartconservation muito obrigado pela tua sempre cordial atenção. Bom trabalho.

[@alexsandromedeiros828]

Eduardo, vi que você responde as mensagens em português e seu nome (Eduardo) é um nome português. De que país você é originário? Qual sua nacionalidade? Aproveito para expressar minha admiração por seu trabalho e agradecer pelo entretenimento de qualidade que você generosamente nos proporciona. Aprendemos muito com seus vídeos. Muito obrigado, querido! Abraços, do Brasil!

[@Figueiredoartconservation]

Olá Alexsandro. Que bom receber o seu cometário, tão agradável e simpático. Eu sou português e vivi em Lisboa. Mas agora vivo na Bélgica. Fico muito contente que o canal lhe agrade. Fico super feliz quando os meus espectadores reagem de forma tão positiva. Um Grande abraço aqui da Bélgica.

[@kh7794]

Fly poop. It's the bane of house painters, interior or exterior, art painters, anything paint.

[@anacristinacalvin4140]

Unbelievable ....OMG Unbelievable 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻😲🤗 I love it

[@Figueiredoartconservation]

Thank you so much for your comment 👌👍