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I inherited a family portrait dating back to the 1630’s – ‘after van Dyck’. Sarah identified it at a NADFAS study day as being relatively unrestored and worth cleaning and conserving. The painting is oil on oak panel and while in quite good condition, showed signs of warping. After Sarah’s work, the painting was stabilised and thoroughly cleaned to reveal hidden depths of colour and skin tone. It was reframed using her ‘micro-environment’ system and should remain in its present glory for generations to come. The quality was so obvious that the painting was used by Bendor Grosvenor to establish the true identity of a missing van Dyck portrait of the same sitter.

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