Stephanie Limoges, Senior Conservator of Paintings, Painted & Gilded Surfaces & Frames
Stephanie received her masters degree in the specialization of paintings conservation from the University of Melbourne, Australia. She has since had over 7 years experience working in both paintings and frames conservation at major fine arts institutions in Australia, and here in the Bay Area at the Oakland Museum of California. Stephanie was awarded Professional Associate status of the American Institute of Conservation (AIC).
She has a long history in reproduction frame making, gilding and the restoration of frames and polychrome objects prior to gaining her degree in paintings conservation.
Her treatment experience and expertise run from medieval panel paintings right through to contemporary acrylics and mixed media. She has also done extensive work in collections care, including condition assessments, collection surveys, disaster response assessments, and storage and environmental assessments and monitoring.
Detail of varnish removal from an 18th Century oil on canvas Madonna and Child
Kelsey Fox, Assistant Paintings Conservator
Kelsey Fox graduated with a Master of Art Conservation degree in the conservation of paintings from Queen's University in 2016, and has completed internships at the National Gallery of Ireland, Dublin, and at private practices in Los Angeles, CA.
Her experience in treatment ranges from Renaissance panel paintings to modern and contemporary works as well as frames and murals. She is currently serving as Member-at-Large on the board of the Bay Area Art Conservation Guild (BAACG).
Our Paintings Conservators have experience treating artworks by a large number of artists with a wide variety of styles and mediums. Here is list of some of artists, whose works we have treated:
Anthony van Dyck
Frederick Ballard Williams
Frederick Ferdinand Schafer
John Edmund Mace
John White Alexander
Jusepe de Ribera
Mary Bradish Titcomb
Roy De Forest
Thomas de Keyser
William T. Wiley
William Theophilus Brown
Treatment of an oil on canvas by Jusepe de Ribera
Condition: The artwork is an oil on canvas by Jusepe de Ribera, an Italian painter of the Baroque period, circa 1600. There is no signature or title inscribed on the work, but the painting appears to be of the subject of St. Jerome. The canvas itself was in remarkably good condition considering its age, apart from the tacking margins which had a failed strip lining that had previously been performed. There was also a large, 9 x 8” linen patch on the verso at lower center right, which indicated that the canvas support has most probably been compromised in this area. The paint over this area is mostly non-original. There were small losses overall, and the paint film had severe craquelure over the entire surface. There was some cupping, tenting and lifting sections where movement can be felt that required consolidation. The most notable aesthetic problem, was a very yellowed and degraded varnish layer, which was also overly thick and glossy. There was significant retouching to the paint film which is visible when viewed using UV induced illumination. Read more about our Technical Analysis.
Treatment: Photographed before, under UV, during and after treatment. HEPA vacuumed with hake brush. The paint film was consolidated and set with a heated spatula. The painting was removed from its stretcher and the old, failed strip lining removed and replaced. The artwork was then re-stretched on the original stretcher. The varnish layers were then carefully removed. Initially, an attempt was made to only thin the varnish layers so that not all the overpaint would be removed from the large central damage. However, the overpaint in this region came off particularly easily, revealing an excessive amount of overpaint and unnecessary fill material which was disguising the original compositional layout of part of the straw clothing. Excessive overpaint from regions in the background and foreground were also removed. An initial brush varnish was then applied to isolate the original paint layers. The extensive area of loss was then retouched in a more restrained fashion, sympathetic to the original design. Two final spray coats of varnish were applied to protect the inpainting, and integrate the surface overall.
Select Portfolio of Painting Conservation Treatments