Conservation and Restoration:

What is the difference?

The difference between conservation and restoration is a subject for those of us with a serious interest in the art that we own. At some point we need to learn about and consider how deeply to involve ourselves in caring for and preserving our art treasures. This brings us to that question, what is the difference between conservation and restoration?

In the art world picture framers are the professionals who prepare art for display; they may also be called on to repair-framed art that has been damaged. Framers need to know and understand the conservation and restoration of art, as well as the art framing package.

The top level of framers is called a conservator. Conservators I know of have degrees in Art or Art History. The training of a conservator usually starts by working with an established conservator, as an apprentice in the conservation and framing of art. Whether a frame or painting or paper conservator, the work they do is similar in that they are devoted to the preservation of the cultural property they work on for the future.

Their work may include examination, documentation, treatment, and any preventive care needed to maintain and restore the property in a reversible way. Because of their expertise they often help clients with research and education on the art property being examined. Regardless of the monetary value of your artwork, if you place a high personal value to it you should consider having your art conserved, and restored if necessary.

After all, it is your responsibility to look after the artwork you own. You can look for a qualified conservator by asking at your local art museum, art gallery or a local historical society. These groups work with and use individuals qualified in the conservation and restoration of fine art. The American Institute for Conservation of Historic & Artistic Works have a list of conservators as well as guidelines on selecting a conservator at their website http://aic.stanford.edu

Picture Frame Restoration is a very different field. Restorers get their training working hands on and in a less formal environment. They are not bound by the restraints of conservators who want to maintain the property without changing or altering it in any way. Restorers work to restore a work back to an original state; they may be asked by the client to alter it in other ways, all of which cannot be reversed. That is the real difference between the two and something you should keep in mind. We see a lot of picture framers that become restorers because costumers need small repairs to the framing package or to the art itself.

Conservators and restorers specialize in fields like painting and drawing or photography, frames, gilding, and documents as well as other objects like statues, bronzes and furniture. I have written about archival methods for art on paper elsewhere in this website.

I would recommend keeping in mind the Principle of Reversibility. It is based on the principle that technology will change and that knowledge will undoubtedly grow, therefore all materials and techniques used in the conservation and restoration process should be reversible. A future conservator will then be able to undo anything that was done today, so the object may benefit from any advancements in the field at that time.

I’ve been asked many times what is the right way to frame art or prints on paper. Here are the steps I take. Keep in mind the frame package should not only compliment the art but it should also protect and support the art as well. After gathering all materials needed and using only acid-free, stable, non-deteriorating materials we can begin.

1. Place the frame face down. Seal the rabbet with a sealant or wrap the edges of the mat package or both.

2. Clean the glazing using a cleaner that does not have any ammonia, vinegar or coloring in it. Picture frame suppliers carry a commercial cleaner made for this purpose.

3. Place the mat package face down into the frame rabbet. Add your backer board.

4. Use a point or brad driver to secure the mat package and backer board to the frame. Set the point driver flat on the backer board when putting in the points so as not to damage the mat package.

5. Apply the polyvinyl acetate glue carefully to the back edge of the frame. Place the dust cover on and pull it taut. Trim the dust cover to the edge of the frame with a blade or trimming knife.

6. Attach the hanging hardware by pre-drilling the frame. Attach D-rings and attach picture-framing wire.

7. I add my company label and art information label to the backer board and the plastic pocket for artwork documentation.

8. Place bumper pads on the lower corners of the frame. This allows air circulation behind the frame and minimizes dust accumulation.

These are my personal guidelines for art conservation and restoration. If you have questions or comments for me, please use the Contact Form.

For additional information on Framing, visit Matting and Mat Boards, Mounting Art, Glazing, Backer Boards and Dust Covers, or Framing Design--Form and Function.

Return to Framing Art or HOME.