Images with courtesy of Frans Hals Museum

Before: Surface dirt, a yellowed and oxidized varnish layer and old discoloured overpaints were present on the paint layers. This resulted in a matt and dark appearance of the composition.

After: After the removal of varnish and overpaint and the application of an intermediate varnish layer and retouches, all the original details of the painting were visible once again. The painting was ready to travel to an exhibition on Luther in the museum of the Catharijne Convent in Utrecht.

Detail: During the conservation treatment additional texts were discovered with Infrared Reflectography. Overpaints present on these texts could not be removed. However, the discovery and documentation of these texts has contributed to many possibilities for further research in the future.

Images with courtesy of Museum Catharijneconvent

Before: A discoloured varnish, surface dirt and the presence of lead soaps (dark horizontal lines in the sky).

After: The removal of the surface dirt and the yellow varnish revealed the bright colours of the painting. With an intermediate brushed varnish, retouches to decrease the visibility of the lead soaps and a final spray varnish the painting was ready to travel back to the Museum Catharijneconvent.

Details: By retouching the dark horizontal lines, original paint layers were slightly covered. The challenge was to use a minimal number of retouches to recover the readability of the composition, while covering the least amount of original paint.

Images with courtesy of Museum Catharijneconvent

Before: A discoloured varnish and surface dirt were present on the paint layers. As part of the treatment plan, the surface dirt and the yellow varnish were removed.

After: With an intermediate brushed varnish, retouches and a final spray varnish the painting was reunited with its pendant in the museum.

Details: The two panel paintings by Van troyen, Baptism of the Eunuch and Moses saved from the water were going to be presented together at the museum. Therefore, it was a challenge to retouch both paintings to a comparable level. To achieve this goal the results were discussed with other conservators and the retouching process was constantly evaluated.

Images with courtesy of Stiching Restauratie Atelier Limburg (SRAL) and Fries Museum

Before: Old oxidized varnish layers and many layers of overpaint were present, giving the painting a dark and discoloured appearance.

After: Removal of varnish layers with a tissue gel composite cleaning system.

Detail: Group project at SRAL. Performing research and structural treatment on 42 panels.