adopt-a-painting

{"objectId":"565","id":"565","type":"adopt-a-painting","adopted":"0","description":"<img class=\" wp-image-9925 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/stringa-235x300.png\" alt=\"stringa\" width=\"188\" height=\"240\" />This frame is in dire need of assistance. It’s in poor condition, rife with loose parts and losses, including insect damage. Over the centuries, people have tried to improve its appearance, resulting in discolored patches of overpaint, flaking gesso, and bits of replacement parts. Unfortunately, we have found that the original gold leaf has also been covered up with gold paint; these elements will be restored and regilded. Major losses will be reconstructed by the conservators in keeping with the original design. This is a much-needed undertaking and will result in a dramatically improved appearance for both painting and frame.","cost":"$8,230.00"}
{"objectId":"8776","id":"8776","type":"adopt-a-painting","adopted":"0","description":"Diogenes stalked the streets of Athens with his lantern, looking for an honest man. But an important part of the legend is that he also walked those streets in <i>daylight</i>. While there is no blue sky in Loth’s painting, there are certainly abrasions from aggressive cleaning over the centuries, areas of retouching, and a moderate layer of grime embedded in the varnish. Treatment would resolve these issues, and do much for the overall design of the painting, since the dark passages (of which there are many!) are obscured and unreadable due to poor color saturation.","cost":"$1,845.00"}
{"objectId":"1684","id":"1684","type":"adopt-a-painting","adopted":"0","description":"Oh, the drama! We’re not just talking about what’s happening between Mary Magdalen and the Angel. This goes deeper, folks. Right down to the tacking margins. The canvas on which this work is painted is entirely unstable, and the edges which are nailed to the stretcher are now brittle and torn. These edges require linen strips in order to stabilize and properly retension the canvas across the stretcher. Not only are there structural issues that need to be addressed, but the paint surface is in big trouble, too. There is a thick layer of disfiguring yellowed varnish, and several areas of retouching that have now discolored and become noticeable. In fact, over the centuries, it seems that this painting has been doctored several times. There are several large areas of retouching that were probably unnecessary, and only added in order to brighten the picture up – again, thanks to layers of dirty varnish. Small tests have indicated that cleaning this painting would result in a <span style=\"text-decoration: underline;\">dramatic</span> improvement.","cost":"$5,820.00"}
{"objectId":"731","id":"731","type":"adopt-a-painting","adopted":"1","description":"Poor Anna Blocken! For centuries, she was without an identity, known only as the “Portrait of a Lady”. Sometime in the late 19<sup>th</sup> century, she became separated from her husband, who now hangs in the National Gallery of London. To add further insult to injury, she is dirty and flaking. But things are looking up for Mrs. Blocken – we have recently refound her given name, and she is long overdue for a thorough cleaning. Many of the darker areas in this painting are barely legible, and tests show that the varnish is doing her no favors – it is brittle, discolored, and over 60 years old. A web of craquelure along the panel’s wood grain is disfiguring, especially across Mrs. Blocken’s face. There are also scattered areas of lifting and flaking paint and various losses across the surface. Treatment, which includes removing the unsightly varnish, filling losses, securing unstable paint, and inpainting and toning areas of loss and instability would resolve the overall appearance of the painting, and would certainly do wonders for this lady’s esteem!","cost":"$2,555.00"}
{"objectId":"113661","id":"113661","type":"adopt-a-painting","adopted":"1","description":"This recent gift to the MIA requires treatment before it can be displayed in the galleries. Palamedesz was best known for his military and “merry company” paintings, and with your help, this work will make an excellent pendant to our guardroom painting by Jacob Duck in the 17<sup>th</sup> century Dutch galleries. The original paint is in excellent condition, however, the entire surface of the picture is coated with a thick, glossy varnish that is embedded with grime and has discolored with age. Finer details are obscured, and the composition has lost its sense of depth. The dirty varnish significantly affects the color, giving everything a similar yellow-grey sheen. Removing the varnish would be offer a dramatic reveal.","cost":"$3,195.00"}
{"objectId":"1886","id":"1886","type":"adopt-a-painting","adopted":"1","description":"<p>This nighttime scene is full of high drama that should not include visible repairs and poorly-executed inpainting, which has become more and more obvious over time. The numerous old fills will be replaced and corrected. The current, aged coat of varnish does not penetrate the paint layers, resulting in a dull, flat appearance; new varnish will give a greater sense of three-dimensionality and depth to the figures. Structurally, the painting needs assistance. The stretcher and frame require spacers (there are none at present to prevent shifting), and the securing hardware is inadequate to support the weight of the stretcher.</p>\n<p> Finished restoration on this painting will result in a beautiful, subtle change. It will also allow audiences to experience the dramatic candlelit commotion as Honthorst originally intended. This project requires a long, careful treatment, and the outcome will be worth the wait. </p>","cost":"$6,940.00"}
{"objectId":"1624","id":"1624","type":"adopt-a-painting","adopted":"0","description":"<img class=\" wp-image-9924 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/cordazzi.png\" alt=\"cordazzi\" width=\"185\" height=\"250\" />This large, stunning frame is in less-than-stellar condition. Repairs and joints have opened over time and there are numerous cracks and losses on the carvings, scrolls, and sides of the frame. In addition, the frame is very grubby, with discolored overpaint, fingerprints, darkened glue, and accumulated soot. Oh my! Restoration will include consolidating lifting gesso, removing the overpaint, and a super- thorough cleaning. The loose joints will be tightened, and losses will be filled, gilded, and toned. In the end, this frame will look shiny and new, plus it will also be stable!","cost":"$5,960.00"}
{"objectId":"1645","id":"1645","type":"adopt-a-painting","adopted":"0","description":"Good things come in small packages, and this sweet little painting has much to offer. It’s actually in very good condition, too, given its age. The wood panel is stable, there is no overpainting, or flaking, or even overcleaning by some zealous 19<sup>th</sup> century restorer. In fact, the painting is entirely intact – with the exception of a greenish-yellow coat of varnish that covers the entire surface and completely obscures the more delicate passages of the artist’s brushwork. The surface is further affected by a grime layer that has embedded into the varnish layer – creating a haze of unsightly accretions, fingerprints and dirt. With your help, we can free this lively little picture from its discolored state and let it shine in the galleries.","cost":"$1,490.00"}
{"objectId":"1372","id":"1372","type":"adopt-a-painting","adopted":"0","description":"Visually, the overall landscape is badly obscured by a thick (now brittle) natural resin varnish that has discolored in a blotchy, uneven distribution of yellowing. There are areas along the edges where the pressure from the frame has shattered the varnish layer. The surface gloss is extremely uneven and marred with accretions, blanching, scrapes and scratches. In addition, there are the usual dirt and grime particles embedded in the old, natural resin varnish. The painting would benefit greatly from the removal of these layers, followed by a fresh application of stable, non-yellowing synthetic resin varnish. There are several poorly-executed attempts at retouching throughout that will require either toning or inpainting. As a result, Brueghel’s delicately applied vibrant colors will appear as fresh as the day he finished it.","cost":"$3,265.00"}
{"objectId":"547","id":"547","type":"adopt-a-painting","adopted":"1","description":"<img class=\"alignnone  wp-image-9922\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/lamentation_1.png\" alt=\"lamentation_1\" width=\"61\" height=\"149\" />  <img class=\"alignnone  wp-image-9921\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/lamentation_1b.png\" alt=\"lamentation_1b\" width=\"230\" height=\"147\" />  <img src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/lamentation_2.png\" alt=\"lamentation_2\" width=\"61\" height=\"147\" />\r\n<h6>Painting</h6>\r\nThis remarkable triptych is considered to be one of the most characteristic and important works by the Master of the Saint Lucy Legend. Sadly, its inherent brilliance and details in the darker passages are obscured by its present condition. The removal of old discolored varnish (applied in 1952!), embedded grime layers, and discolored retouchings, followed by the application of new varnish, will restore balance to the work’s original color relationships and significantly improve overall visual impact. As the need for new in-painting is extensive, the treatment will be time consuming. With the exception of a small split in the upper right corner of the center panel that will need to be repaired, the panels are structurally stable in general. However, the irregularity of some of the edges has left slight gaps between the panels and frame housing. Minimal filling and toning of the uneven edges will reduce or eliminate these visual distractions. Treatment would also include the paintings on the reverse of the side panels that, when closed, depict the Annunciation.\r\n\r\n<span style=\"line-height: 1.714285714; font-size: 1rem;\">Painting restoration: </span><strong>$25,540.00</strong>\r\n<h6>Frame</h6>\r\nTime has not been particularly kind to the frame that surrounds the Lucy Master’s triptych. Aside from the cosmetic concerns of dirt and grime, missing parts, cracks, and breaks in the wood (as well as joints that are loose and out of alignment) pose a deeper threat in their failure to prevent movement of the panels and consequent damage to their edges.   Restoration of the frame would include a thorough cleaning and consolidation of old surfaces, followed by filling, toning, and re-gilding in areas of loss.  Structural work would include reversal of old break repairs and restoration of the same with state-of-the-art methods.\r\n\r\nFrame restoration: <strong>$20,575.00</strong>","cost":"$46,115.00"}
{"objectId":"1658","id":"1658","type":"adopt-a-painting","adopted":"0","description":"If cleanliness is next to godliness, this Carthusian monk requires a good cosmetic cleaning to restore him and his yellowed habit to a state of blessedness.   However, beyond addressing superficial vanities through removal of old varnish and discolored retouchings, there are serious structural issues that also need to be addressed.   At some point, the canvas was enlarged by a different hand with the addition of strips of canvas to top and bottom.  This expanded composition was then backed with another fabric, and the adhesive used in this process has become degraded.  The required treatment would remove this old lining and added strips of canvas at top and bottom, thereby returning the painting to its original dimensions.  It would then be secured to a new stretcher.","cost":"$5,590.00"}
{"objectId":"1849","id":"1849","type":"adopt-a-painting","adopted":"0","description":"<img class=\"size-medium wp-image-9953 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/ghezzi-300x235.png\" alt=\"ghezzi\" width=\"300\" height=\"235\" />Yikes! If the Prodigal Son had too much fun while he was out being….well, prodigal, the frame is definitely paying the price. The overall condition is poor and unstable. Not only is the wood extremely warped, there are open joints, wood losses, insect damage, sections of replaced wood, lifting gesso – which is also lumpy and crumbling – and, last but not least, just a lot of good, old-fashioned soiling throughout the frame.\r\n\r\nDespite its calamitous condition, the frame can be fixed. Conservators will stabilize the structure, clean and consolidate the gesso, fill losses, gild and tone the fills, and add a protective coating.","cost":"$9,365.00"}
{"objectId":"1550","id":"1550","type":"adopt-a-painting","adopted":"0","description":"This pair of Platzers (see following painting, <em>The Bath of Diana</em>) haven’t gotten any gallery time in recent decades, due to heavy dirt and grime layers embedded into a discolored yellow coating of resin varnish. These unfortunate and unwelcome strata obscure the colors and original paint layers. Upon restoration, and in keeping with the treatments of Platzer’s <i>Four Seasons </i>series, we’ll coat the panel with microcrystalline wax and buff it, which will significantly increase color saturation.\r\n\r\nThese can be adopted individually, or as a pair.","cost":"$1, 420.00"}
{"objectId":"1551","id":"1551","type":"adopt-a-painting","adopted":"0","description":"This pair of Platzers (see previous painting, <em>Latona Turning the Lycian Peasants into Frogs</em>) haven’t gotten any gallery time in recent decades, due to heavy dirt and grime layers embedded into a discolored yellow coating of resin varnish. These unfortunate and unwelcome strata obscure the colors and original paint layers. Upon restoration, and in keeping with the treatments of Platzer’s <i>Four Seasons </i>series, we’ll coat the panel with microcrystalline wax and buff it, which will significantly increase color saturation.\r\n\r\nThese can be adopted individually, or as a pair.","cost":"$1,420.00"}
{"objectId":"1487","id":"1487","type":"adopt-a-painting","adopted":"0","description":"<img class=\" wp-image-9954 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/masucci.png\" alt=\"masucci\" width=\"173\" height=\"235\" />The Annunciation was the bringing of good news from on high; apparently, the frame didn’t get the memo. This gilded Salvator Rosa-style frame is structurally stable but the surface is not; there are gouges, cracks, and areas of lifted and lost gesso and gold. The entire frame is dirty and features numerous attempts at repair over the decades, some of which is bronze overpaint that has tarnished to a brownish-green color – yuck! Restoration will include a thorough cleaning and stabilizing of the surface. Lifting gesso will be consolidated, the tarnished overpaint will be removed and areas of loss will be filled and regilded. After such a thorough treatment, the frame will better serve the painting in its bringing of glad tidings!","cost":"$3,830.00"}
{"objectId":"546","id":"546","type":"adopt-a-painting","adopted":"0","description":"<img class=\" wp-image-9955 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/wright-251x300.png\" alt=\"wright\" width=\"201\" height=\"240\" />While the overall structure of the frame in which Mrs. Beridge resides is in generally good to fair condition, it is slightly unstable, due to several losses at the corners and edges. However, it is the surface that is most worrisome. Of greatest concern are the lifting gesso, heavy soiling, and past attempts at restoration which are now deteriorating at a rapid rate. An old, heavy glue coating has darkened and shrunk, causing the gold to lift, and creating unsightly areas of cracking. Darkened and tarnished overpaint that attempt to cover areas of loss are obvious throughout the frame, and newer areas of gilding have been mechanically darkened in order to disguise the “newness”. Because the damage is so extensive and visible along the front edges, these areas will be entirely smoothed and regilded. In addition, the frame will undergo a thorough cleaning, correcting poor fills, consolidating lifting gesso, and adding a final protective coat, making for a much happier Dorothy Beridge.","cost":"$8,940.00"}
{"objectId":"10593","id":"10593","type":"adopt-a-painting","adopted":"0","description":"This amazing frame is now completely unstable, due to failing joints, causing movement and shifting, as well as a good deal of flaking gesso. Numerous areas of overpaint have darkened; some areas of bronze paint have gotten wet (!) and now appear green, due to corrosion. The sides of the frame are extremely splotchy and dirty. The frame appears to have been coated with tinted glue to help protect the gold (and probably to make the gilding appear older).\r\n\r\n<img class=\" wp-image-9956 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/prudhon-248x300.png\" alt=\"prudhon\" width=\"198\" height=\"240\" />Due to the extensive damage present at the front edge, this area will need to be entirely regilded. Lifting gesso will be consolidated, cracks will be filled with appropriate adhesives, loose carvings will be secured, wood and gesso losses will be filled, and areas of gold loss will be regilded and toned. This is a major restoration project that has been on our curatorial radar for years.","cost":"$9,860.00"}
{"objectId":"685","id":"685","type":"adopt-a-painting","adopted":"1","description":"Mr. Gray is actually rather yellow. While the original paint layer is intact and stable, the entire work has been surfaced with uneven layers of a thick resin varnish which has badly degraded and discolored to a deep amber-yellow over the decades. Removal of these varnish layers will reveal Mr. Gray’s lovely complexion and restore his crisp, starched whites to…well, white. Minor structural issues will be resolved, including the addition of a spacer to prevent abrasion of the canvas by its frame. After his treatment, we look forward to giving this fellow some deserved gallery time.","cost":"$3,740.00"}
{"objectId":"727","id":"727","type":"adopt-a-painting","adopted":"0","description":"<img class=\" wp-image-9959 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/reid-226x300.png\" alt=\"reid\" width=\"181\" height=\"240\" />Captain Reid’s frame is especially soiled and spotty. There is warping, insect damage, and open joints with movement and misalignment, which probably occurred with earlier attempts at repair. In the details, the laurels, fluted coves and corner blocks are lifting, the lamb’s tongue is bending away, and the bead and string lengths are loose. Translation? This frame needs a lot of restoration. At some point, it was regilded and coated with a material that has now significantly darkened. A great deal of now-discolored and tarnished overpaint is present throughout. Fortunately, all of these problems can be addressed, and either reversed or corrected. Will you please help this poor frame?","cost":"$7,665.00"}
{"objectId":"2543","id":"2543","type":"adopt-a-painting","adopted":"1","description":"<img class=\" wp-image-9957 alignright\" style=\"margin-left: 10px;\" src=\"http://new.artsmia.org/wp-content/uploads/sites/8/2013/04/stearns.png\" alt=\"stearns\" width=\"212\" height=\"158\" />“I’d rather be fishing”…but not in a dirty and damaged frame! While the frame itself is structurally stable, there are numerous areas of loss along the back side edges, with cracking and lifting splinters of wood. The entire frame, which was originally gilded, was overpainted with bronze paint at an unknown date. The paint has tarnished and is very dirty.  Restoration of the frame would include a thorough stripping of the bronze paint from all surfaces. Areas of loss would be filled, and insecurities would be consolidated. Finally, the entire frame would be regilded.","cost":"$10,615.00"}
{"objectId":"1647","id":"1647","type":"adopt-a-painting","adopted":"0","description":"Eliezer would benefit enormously from a thorough cleaning. There are scattered areas of retouching and losses underneath a layer of synthetic resin varnish that has yellowed significantly over time. In addition, a layer of grime has also embedded itself into the resin layer, dulling the appearance of the painting.\r\n\r\nTreatment involves removal of the varnish and old areas of retouching, careful inpainting of pigment losses, and applying a new coat of non-yellowing varnish. This will markedly improve the appearance of the work by renewing its color saturation, resulting in bolder reds, brighter whites, and a blue – not brown-blue – sky. After all, the name Eliezer means “God is my help”. Let’s do a good deed in turn, and help Eliezer.","cost":"$2,555.00"}
{"objectId":"1737","id":"1737","type":"adopt-a-painting","adopted":"1","description":"Small in stature, this painting could have a big effect – if it was properly conserved. Thankfully, the original paint layers are stable and intact, however, over the years, someone unnecessarily retouched the darker shadowy areas throughout the painting, probably in order to “enhance” the light and dark contrasts. Most regrettable is an unusually thick and badly degraded coat – actually <i>multiple</i> coats – of varnish. It is very soft, and has become deeply embedded with grime and dirt, thus dulling the appearance of the overall painting. Additionally, there is a large, conspicuous area of wrinkled varnish in the upper right quadrant. Simply stated, this painting needs your help! With proper cleaning, this painting would be a remarkable standout on a gallery wall.","cost":"$3,830.00"}
{"objectId":"10511","id":"10511","type":"adopt-a-painting","adopted":"0","description":"This lovely little picture would appear so much more appetizing without its current layers of thick, yellowed, glossy varnish. During its history, someone decided to fix the painting by retouching a few areas of loss and abrasion. Unfortunately, the pigments were poorly matched; thus the areas of overpaint are considerably lighter and rather obvious, compared to the original paint surface. The previous attempts at restoration will be reversed, and a new, color-saturating layer of varnish will be applied to the surface of the painting, which will certainly serve to make this fruit bowl more appealing.","cost":"$2,840.00"}
{"objectId":"10534","id":"10534","type":"adopt-a-painting","adopted":"1","description":"<p style=\"text-align: left;\"><span style=\"line-height: 1.714285714; font-size: 1rem;\">The last time this painting received treatment was in 1962.</span></p>\r\nOver the decades, the varnish has aged and discolored, and now does not sufficiently saturate the paint layers. Areas of small losses and subsequent inpainting are present, but alas, the textured surface of these repairs do not match the surrounding original paint, and will need to be remedied. All extant varnish will be removed, old fills will be fixed and improved, and a final coat of highly saturating, non-yellowing varnish will be applied, thus significantly improving the appearance of this painting.","cost":"$1,800.00"}
{"objectId":"1577","id":"1577","type":"adopt-a-painting","adopted":"0","description":"This lovely little vista has languished in storage due to its condition and the lack of an appropriate frame. With your help, we’d love to get into the galleries! All that’s required is a surface removal of the dirty, sticky, yellowed varnish to spiff up the color and the depth, and a bit of structural adjustment to ease the canvas tension. Our in-house framemaker will then create a period-appropriate “home” for the painting.","cost":"$1,630.00"}
{"objectId":"6230","id":"6230","type":"adopt-a-painting","adopted":"0","description":"Will the children in this wonderful genre painting ever find their way out of the darkness? With dirt and grime embedded in the thick, discolored layer(s) of varnish, only a good cleaning and near removal of all the old varnish will return light to the woods. Treatment will be a tricky process, however, as the painting is constructed with solvent-sensitive layers of glazes that lurk just beneath the old varnish. Once the old varnish is reduced as much as possible, a highly saturating varnish will be added to increase visibility and restore the jewel-tone colors to their original brilliance.","cost":"$2,765.00"}
{"objectId":"10509","id":"10509","type":"adopt-a-painting","adopted":"1","description":"This lovely landscape would be so much brighter, and you would actually be able to appreciate the long view, if the paint layers weren’t choking under layers of discolored dirty varnish and grime deposits. Areas of old retouching have darkened over time, altering the appearance of the sky and along the edges. These areas would be repaired and adjusted in order to improve the integration of the design and the painting’s overall color and tone. Small cleaning tests have indicated that treatment would result in a dramatic appearance.","cost":"$2,840.00"}
{"objectId":"1819","id":"1819","type":"adopt-a-painting","adopted":"0","description":"Our horse and rider need a lot of TLC, both structurally and cosmetically. The stretcher, which is original to the painting, has been tightened so much over the years that the sides have bowed inward, and the corners are straining. The solution involves removal of the canvas from the stretcher, extending the tacking margins by means of a strip lining, resecuring the canvas and adjusting its tension appropriately. In addition, there are mold stains on the lower half of the canvas verso, and large bits of debris that have lodged between the canvas and stretcher. These have caused a number of sharp, convex deformations along the bottom edge of the canvas, which need to be reduced and flattened.\r\n\r\nOn the surface, the sky is broadly overpainted with a grayish green-blue, as opposed to the original, brighter blue below. There are scattered stains and discolorations throughout, as well as various losses - even a scratch – that affect all layers of the paint. A thick resin varnish was tactlessly applied over an existing dirt and grime layer, and most regrettably, over a number of dark brown splatter accretions and drips in the lower left corner. The current varnish poorly saturates the paint, and the surface quality is noticeably diminished. Treatment involves removal of the varnish, and reduction/removal of the grime layers and accretions. Losses will be filled, areas of abrasion and staining will be toned or inpainted, and a new coat of non-yellowing varnish will be applied. The finished results will be impressive and noticeable.","cost":"$3,050.00"}
{"objectId":"2536","id":"2536","type":"adopt-a-painting","adopted":"1","description":"<p><i>A Book of Verses underneath the Bough<br /></i><i style=\"line-height: 1.714285714; font-size: 1rem;\">A Jug of Wine, a Loaf of Bread, and Thou<br /></i><i>Beside me singing in the Wilderness<br /></i><i>Oh, Wilderness were Paradise enow.</i></p>\n<p>What a lovely sentiment! That bread and wine would go down much easier if the figures weren’t choking under a layer of varnish that has discolored to a medium amber color – hardly the effect that Sir Brangwyn was aiming for. Over the varnish, there is a moderate to heavy layer of grime and dirt. Let’s restore this painting to its original state, because we know that underneath that yellowed and filthy coating are a range of beautiful jeweled colors - creamy whites, spicy oranges, citrine yellows and bold blues. </p>","cost":"$1,525.00"}
{"objectId":"15682","id":"15682","type":"adopt-a-painting","adopted":"1","description":"This was a big surprise! We removed the backing board of the painting in order to assess the full condition of the object, and found a complete, fully-realized composition on the reverse. Even better, the hidden painting was the more interesting and compelling image. After much discussion, we have elected to reorient the painting in order to display the “new” painting. This will require careful strip lining, a new custom stretcher, and a new frame. We will also have to relax the existing folds and creases that resulted from the artist flipping the canvas over and re-using it for another composition. Dirty varnish and grime will be removed from both sides of the canvas.  It is important to note that the changes we are proposing will not cover or in any way damage the smaller composition. Who knows what surprises lurk behind the canvases in our museums? One by one, we’re discovering them, with your help.","cost":"$4,755.00"}
{"objectId":"15668","id":"15668","type":"adopt-a-painting","adopted":"0","description":"Historically significant, this painting was gifted to the museum as part of the Works Project Administration. Given the subject and local interest, it would be wonderful to have the painting cleaned, repaired and placed on view. Structurally, the painting requires removal from its current stretcher, and the edges require careful strip lining before reattaching the canvas to a new, more supportive stretcher. Layers of dirt, grime and old, amber-colored varnish will be removed, and small losses will be filled, inpainted and textured to match the original paint. If you  like dramatic reveals, this is the project for you!","cost":"$3,120.00"}
{"objectId":"1627","id":"1627","type":"adopt-a-painting","adopted":"0","description":"Oh, how these poor girls need a little air! A discoloring, amber-colored layer of varnish obscures the darker passages of the painting. There are areas of retouching that have now blanched, making the restoration visible at a viewing distance. The varnish is covered with a moderate grime layer. Structurally, the canvas also needs assistance. There are draws and deformations at the corners, along with a series of sharp, small ripples visible along the entire left edge of the painting. Several tacks are missing at all four corners, and many of the existing tacks are loose and failing. There is a repaired 3-inch tear along the top right edge that is now cupping and tenting, due to the insufficient hold of the lining adhesive to the canvas fabric, and there is associated damage and loss of pigment around the tear site. During the restoration process, the canvas will be removed from the stretcher and humidified in order to relax the deformations. The painting will then be strip-lined, reattached, and properly tensioned on its stretcher. The varnish will be reduced and the disfiguring areas of obvious retouching will be removed and repaired.","cost":"$4,400.00"}
{"objectId":"1538","id":"1538","type":"adopt-a-painting","adopted":"1","description":"This painting needs a bit of TLC. It’s been installed in the galleries periodically, but it can really shine with some structural and cosmetic treatment. There is a small tear in the canvas that needs mending, canvas tension needs to be tightened, and several scattered losses and tiny puncture sites require treatment. Since the painting is unvarnished, as the artist intended, it will stay that way. The relatively thick layer of surface grime, accretions and dirt that the painting has picked up over the years will be carefully removed.","cost":"$1,630.00"}
{"objectId":"3743","id":"3743","type":"adopt-a-painting","adopted":"0","description":"<p>This large painting suffers from a thick layer of grime and dust – and the heavily impastoed paint surface and generous brushwork will make cleaning a time-consuming effort. In addition, there are a few areas of significant paint loss, where the paint has either flaked, or been picked, off of the canvas. These losses will be carefully filled and matched in a reversible process. No varnish will be applied to the surface, keeping with the artist’s original intent. To complete the project, we will also create “one less” distracting inner frame to support the heavy canvas. </p>","cost":"$3,805.00"}
{"objectId":"103206","id":"103206","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"1612","id":"1612","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"10450","id":"10450","type":"adopt-a-painting","adopted":"0","description":"This feast for the senses is currently dulled by layers of disfiguring grime and a gray, cloudy haze embedded in the varnish layer. Unfortunately, this results in a near-complete lack of color saturation. Examination under infrared and ultraviolet light also revealed several areas of old retouching, including many broad and extensive areas of overpaint in the background. Claesz. was certainly a master of surfaces, adept at conveying metal, glass, fabric – even the tantalizing tactility of foodstuffs – with paint. However, under its current layer of dirt, this work is not even close to realizing its full visual potential.­­ Adjusting the old retouching and restoring abrasions will reintegrate the artist’s original design. Assuredly, this elegant repast will offer a dramatic reveal.","cost":"$4,400.00"}
{"objectId":"474","id":"474","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"1782","id":"1782","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"581","id":"581","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"473","id":"473","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"5423","id":"5423","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"687","id":"687","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"684","id":"684","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"801","id":"801","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"1862","id":"1862","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"6239","id":"6239","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"1635","id":"1635","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"263","id":"263","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"7988","id":"7988","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"115814","id":"115814","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"772","id":"772","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"10219","id":"10219","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"1353","id":"1353","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"21172","id":"21172","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"15729","id":"15729","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"1942","id":"1942","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"1400","id":"1400","type":"adopt-a-painting","adopted":"0","description":"The last time this painting was touched by a conservator was in 1963. The painting has not been exhibited in the galleries for decades, due to its condition. Large areas of previous inpainting have gone matte, and have become obvious to even an untrained eye. The varnish is in extremely poor state, and has become embedded with a thick layer of dirt and grime. Ms. Dubuisson would benefit significantly from varnish and inpainting removal. It should also be noted that the current type of varnish is known to become extremely insoluble with age; an effect known as <i>crosslinking</i>, and a chemical change that is impossible to remove or reverse. Fortunately, this unsightly effect has yet to occur here, but we need your assistance in preventing such a ruinous outcome. This really is a lovely painting, and you know that all those Art in Bloom floral designers are always looking for new inspiration!","cost":"$4,220.00"}
{"objectId":"115871","id":"115871","type":"adopt-a-painting","adopted":"1","description":"","cost":""}
{"objectId":"690","id":"690","type":"adopt-a-painting","adopted":"1","description":"This remarkable painting requires major treatment before it can be considered for gallery installation. Given its “unfinished” state, treatment requires some special considerations. Tension on the canvas is uneven, resulting in slackening around the corners which will need to be adjusted and tightened. Most worrying is the bottom right edge, where the paint surface was likely exposed to high humidity or moisture in the past, and is now actively lifting and flaking. Treatment of this area is of the highest priority, and the extant paint surface will be consolidated and secured to hinder further damage. The painting has also been coated with a thick, resin varnish which has discolored to a dark amber color, which disfigures the finer details and underdrawing. Fully treated, the painting will be an interesting and compelling addition to our 19<sup>th</sup> century American portrait collection.","cost":"$2,980.00"}