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> Workshop Details
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| Workshop |
Ruth Bubb, Conservation of Paintings |
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Oxfordshire |
| Contact |
Ms. Ruth -Bubb |
| Telephone |
+44(0)1295 711147 |
| Fax |
+44(0)1295 711147 |
| E-mail |
ruth@ruthbubb.co.uk |
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| Year
established |
1985 |
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| Description |
This long-established studio, formerly based in London, is experienced in the treatment of paintings from the fifteenth to the twentieth centuries. The mission of the studio is to offer fully documented, museum-standard conservation work to institutions and the private sector. It maintains an impeccable standard of service with regard to completion of work within agreed budgets and time limits.
The studio is equipped with microscopes for in-house examination of paint cross-sections and pigment analysis by polarizing light microscopy. |
| Charging
policy |
Hourly rate of £50.00 to £60.00 per hour (Prices in GBP).
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Estimates are sometimes charged for.
Additional charges are made for documentation, materials and transport
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| Works
on site |
This workshop is prepared to work on site.
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| Delivery |
A collection and delivery service is available.
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Examples
of recent projects
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2009
The National Trust |
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In situ and studio conservation for various National Trust properties e.g. Waddesdon Manor, Charlecote Park, Croft Castle, Packwood House, Upton House. Also condition assessments for loan.
From 1998 to present |
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2009
The British Council |
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Ongoing work to examine, document, conserve and restore loans and permanent collection of mainly 20th century British painting.
From 1986 to present |
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2006
Ashmolean Museum, Oxford |
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Ongoing condition assessments for loan and studio restoration of paintings in the permanent collection. For example 'Still Life with Fruit' by Aelbert Cuyp (Dutch seventeenth century); removal of discoloured varnish and overpaint gave no reason to suppose a disputed signature not to be original. |
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2005
Private Collection, Warwickshire |
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Complete restoration of a portrait on oak panel dated 1598 called 'Sir Walter Raleigh'. Removal of overpaint revealed that the original inscription and coat of arms had previously been removed. Traces of the inscription, invisible to the naked eye, could be deciphered by means of ultra-violet fluorescence and digital image enhancement. Thus it was possible to establish the true identity of the sitter. Further research located another earlier portrait of the same gentleman, which confirmed his identity by comparison of the heraldry and facial features. |
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| Specialisms |
| CONSERVATION RESTORATION |
contemporary/modern painting
cross-sectional analysis
easel painting
frame
lining of paintings
miniature (ivory)
miniature (other support)
oil painting
oil painting (paper)
painting (tempera)
painting on copper
painting, canvas
painting, non-western
painting, panel
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| ANALYSIS |
digital photography
infrared reflectography
optical microscopy
photomicrography
pigment identification
polarised light microscopy
sample analysis
sample identification
ultra-violet fluorescence
x-radiography
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| EMERGENCY RESPONSE |
fire damage
flood damage
immediate remedial treatment
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| EXHIBITIONS |
condition assessments for loans
framing
packing for transportation
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| PREVENTIVE CONSERVATION AND SURVEYS |
cleaning of collections
condition survey, collection
condition survey, object
development of conservation plans
good housekeeping programme
handling of objects
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| TRAINING |
delivery of seminars/lectures
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| Date
last reviewed: 20 January 2010
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