Ines Santy ACR
About MeI have been conserving oil paintings for 25 years and have received accredited status since 2003. I initially trained at the Royal Academy of Fine Art in Antwerp, after which I received a Post-Graduate Diploma in Art Conservation and Restoration from the Royal Academy of Art in Ghent. I gained experience for two years at Historic Scotland Stenhouse Conservation Centre in Edinburgh and was subcontracted on a part-time basis for 3.5 years by Clare Meredith ACR in her Conservation Studio at Hopetoun House, South Queensferry. I have studied classical drawing from the age of 11 at the Municipal Academy of Art in Sint-Niklaas, Belgium, where I was taught drawing of still life (4 years), portrait (1 year) and life drawing (6 years) in the weekends. I enjoy bringing paintings back to life, in particular retouching and reconstructing paint losses. This may also entail structural work.
I own a painting which was accidentally damaged during the late summer of 2019. As it depicted my late grandfather, it is a very valuable picture in personal, rather than monetary terms, so I wanted to find the best person to repair the tears it has sustained. On a recommendation, I contacted Ines Santy to ask for her professional services, as both the material and the paint were in need of careful restoration. Ines was very welcoming and immediately examined the painting, before accepting the commission and telling me that she would attend to the necessary repairs and keep me informed of her progress. This she did, so that I was aware of how matters were progressing. When she notified me that the restoration had been completed, I was absolutely delighted with the work she had done. The picture looks as good as new and I will be keeping her contact details in case any other pictures require her extremely professional attention.
Work carried out for Andrew Gray, private client.Conservation/restoration of the oil painting 'Harry Kebel Smith Wounded in Boer War' by Jennett Collins, painted in the early 1900s.
We contacted Ines as a favourite oil painting of mine had a tear in the canvas, which I was keen to have repaired. The painting is of a man with a characterful face and it was painted by my great great aunt Zoe Inman around 1890. Ines was great. When we first met, she took me through the stages of repair and suggested a restoration of the painting at the same time to bring out the colours and remove grime of the last 100 years. We discussed and agreed the cost of the work. When we collected the painting a few weeks later I was thrilled. The painting has come alive with her work. Although I know where the tear was in the canvas, I really cannot see the repair. He is now back on the wall where he belongs, looking at us and us looking back at him! Ines demonstrated her professional knowledge and ability but she was also empathetic to the painting and the character she has restored. Thank you Ines.
Work carried out for C Cameron, private client.Conservation/restoration of the oil painting 'The Man' by Zoe Inman, painted around 1890.
Ines has done excellent restoration work for me in the last few years on a number of pictures and her approach in every case is very professional and to the highest standard. I thoroughly recommend her services to anyone seeking restoration of their artworks.
Work carried out for Robert Younger, private client.Conservation/restoration of the oil painting 'View of a Lake' by Jacques Matthias Schenker, painted around 1900.
Over the last twenty years the Edinburgh conservator Ines Santy has dealt with a range of concerns in connection with the work of Jon Schueler (1916 – 1992): dust and dirt from paintings hanging in public places for over 50 years, mud stains from a flooded storage place, mishandling by galleries, distortions formed by wooden stretchers aging at different rates, and wear and tear (before every painting was fitted with wooden stripping to protect the surface while being stored). Her care and thoughtful assessment of each case has been most gratifying, and her ongoing research into new or alternative methods to meet serious challenges has been repeatedly successful. I entrust Schueler’s work to her with complete confidence and thank Ines for her commitment and extraordinary skill.
Work carried out for Magda Salvesen, Curator, Jon Schueler Estate.Conservation/restoration of a large collection of oil paintings by Jon Schueler, the majority painted in the 1970s.
Post-Graduate Diploma in Art Conservation and Restoration from the Royal Academy of Art Ghent, Belgium: based in the Ghent Royal Museum of Art, conserved oil and structural paintings ranging from the 17th to the 20th century.
Diploma of Fine Art from the Royal Academy of Art Antwerp, Belgium: subjects: printmaking and drawing.
Certificate in Drawing up to Highest Level from the Municipal Academy of Art Sint-Niklaas, Belgium (weekend classes): subjects: classical drawing of still life (4 years), portrait (1 year) and life drawing (6 years).
Certificate in Painting up to Higher Level from the Royal Academy of Art Ghent, Belgium (evening classes): subjects: painting of still life and life models.
I was employed as a Paintings Conservator with Historic Scotland Stenhouse Conservation Centre and was closely involved with the restoration of Norie panels (1740s) for the Museum of Scotland. The panels were very damaged and heavily overpainted.
I carried out subcontracted work for Clare Meredith ACR in her Conservation Studio at Hopetoun House, South Queensferry, on a part-time basis. One of the many paintings I conserved was ‘Portrait of James Hamilton, 2nd Marquess of Hamilton’ after Daniel Mytens (early 17th century) for The Royal Collection. Conservation work included varnish removal, reconstruction and re-varnish.
I restored the large oil painting ‘Venus and Adonis’ by the Workshop of Titian (16th century) for the Earl and Countess of Wemyss and March. Conservation work included consolidation of extensive flaking paint, the removal of 19th century restoration, reconstruction and re-varnish.
I conserved a group of paintings by Edward Atkinson Hornel (late 19th – early 20th century) for The National Trust for Scotland. Conservation work included surface cleaning and structural work. And in 2009 I conserved a ‘Portrait of Rt Hon John, 4th Earl of Hopetoun’ by Raeburn (c1820) at Linlithgow County Council Building for West Lothian Council. Conservation work included surface cleaning, consolidation of lifting paint and retouching.
I conserved ‘Female Nude with Pitcher’ by Samuel John Peploe (1896) for the University of Edinburgh (Edinburgh College of Art Collection). Conservation work included removal of the canvas, flattening of canvas deformations, re-stretching of the canvas, surface cleaning and retouching. In 2016 I conserved ‘The Message of the Forest’ by Toyen (1936) at the National Galleries of Scotland Conservation Studio. Conservation work included tensioning of canvas, surface cleaning and filling of losses.