Suzanne undertakes the conservation of frames of all types to museum standard, including oil and water gilded with gold or silver leaf, polychrome, carved ornament, and with applied decorative mouldings on a wooden substrate. All frames regardless of type can include work to the reverse, making the painting secure and protected.
She works in close collaboration with an excellent framer and a master carver: as a team, solutions can be found to frame new works of art sympathetically, or to reproduce accurate period replica frames, whether carved or with applied composition mouldings, then gilded and toned to give an aged finish.
Suzanne can supply initial estimates from photographs; these will be confirmed and adjusted on first-hand inspection of the objects. Damaged substrates with decorative surfaces, either gilded or painted, can vary enormously. It is preferable to see the object, and make an accurate estimate including material and labour costs.
Before any work is carried out digital images are sent to the client with a written assessment of the frame’s current condition, giving the owner a detailed account of the necessary conservation treatment required, with the estimated cost. Once the conservation treatment is completed, the owner will receive a report with digital images, giving a detailed account of the treatment carried out, along with information about the materials, techniques used, and recording any new adhered decorative detail. Lastly, long-term-care advice is given.
Condition reporting for collections can be done on the frames alone or working in conjunction with paintings conservators to present a full survey with digital photos and detailed diagram showing current condition. The conservation findings can be presented within a spreadsheet or a report format.
Because of her Tate connections and other regional museum experience, Suzanne has had exposure to exhibition and loan-out programme requirements. She has working knowledge of The Museum System database, and has received Tate in-house training as a courier. This working knowledge is transferable to all projects and clients, resulting in professionalism at every level.
A two million pound public-liability insurance is in place, which is necessary to work with national museums and galleries, also an insurance cover up to twenty five thousand pounds for frames or pieces of furniture whilst in the studio. Insurance for any paintings is the responsibility of the client and a contract must be agreed and signed to this effect.