Egan, Matthews & Rose

12 May 2025

Established in 2003, Egan, Matthews & Rose are passionate about the conservation of easel paintings, and work to the highest professional and ethical standards from our spacious, secure studio in Dundee, Scotland.

We have vast experience conserving works on varied supports, including canvas, wood and metal, and are expert at working on site, on large collections and on outsize paintings. We also undertake collection surveys, loan reports and training. Our projects include historic, modern and contemporary works from both public and private collections across Scotland and further afield. Major clients include the Royal Collection, the National Trust for Scotland, and numerous Scottish local authorities. We are the preferred paintings conservators for many stately homes across Scotland and also work with a wide range of private individuals. Egan, Matthews & Rose take huge pride in our work and are recognised for our professionalism, creative problem solving and exacting standards.

Conservation and restoration of paintings and frames

We conserve and restore paintings on varied supports, including canvas, wood and metal, from any period right up to the present day. As we are a multi-practitioner business, with a spacious studio, we can work on outsize paintings and large collections. We repair and restore old frames and work closely with a specialist framer should new frames be required.

Collection surveys

We can survey your entire paintings collection, which involves assessing and documenting the condition of artworks to identify any damage, active deterioration, and conservation needs. A survey can help prioritise conservation treatment, recommend appropriate storage and display requirements, and guide long-term preservation strategies.

On-site assessments and treatments

We are happy to work in your home or museum environment when required. We can offer initial on-site assessments and advice, then follow up by preparing treatment proposals and estimates. We are extremely experienced in conserving paintings in situ and can adapt working practice to the specific needs of each venue.

Training and outreach

We can provide training for your staff on paintings and frames and their associated conservation requirements, including display, framing, handling, good housekeeping, and disaster preparedness. We have given many presentations on our work to diverse audiences, such as museum and galleries professionals, friends’ groups, museum studies students, and others. We have contributed to conferences, symposia and study days.

Consultancy

We offer a consultancy service for all aspects of the conservation and restoration of paintings and associated collections. We can provide loan condition assessments and documentation, along with advice on handling and transportation. We have assisted many clients in successfully applying for the prestigious Woodmansterne Art Conservation Awards, William S Phillips Fund, HLF funding and other grant aid.

‘The Madonna and Child, with Infant Saint John’, during varnish removal

This project involved the conservation treatment and technical analysis of an early sixteenth century panel painting ‘The Madonna and Child, with Infant Saint John’, attributed to a pupil or an artist in the ‘circle of’ Florentine Master Domenico Puligo, from the collection of Fife Cultural Trust (OnFife). Conservation not only secured and stabilised the panel for the future while revealing its true colours and quality but also ensured its long-term preservation with protective housing & framing

Treatment of woodworm damage

The panel had extensive woodworm damage, with clear channelling and ‘honeycombing’ of the structure in places. Insecticide, followed by a consolidant and then a lightweight inert filler were injected, with a syringe and fine needle, into every borehole and channel. The damages were then coated with coloured filler and toned to make them more sympathetic to the overall look of the panel.

Whole front, Near Infrared Reflectography

Technical analysis and research were undertaken to identify the materials and construction of the artwork and guide its conservation. Methods included art historical research, paint sampling, X-ray, and Near Infrared Reflectography (NIR). NIR revealed extensive underdrawing, showing the artist altered the composition, adjusting limbs, clothing folds, and removing a bearded figure originally in the top left corner.

After cleaning and filling, before retouching

The painting was fully conserved, including repair of the panel, surface cleaning, removal of varnish layers and old overpaints, filling and retouching. Careful observation of the panel, as well as historic examples of Puligo and his contemporaries’ work, informed the retouching process. Final varnishing gave the picture an appropriate subtle finish.

After treatment

EMR worked in conjunction with Fife Cultural Trust staff to create a specialist exhibition at Kirkcaldy Galleries throughout 2023. This included display information and a video highlighting the background, research and treatment of the picture. A ‘Study Day’ was held, which presented all the research, technical analysis and treatment associated with the painting, and EMR also co-authored and presented an associated paper at the Scottish Society of Art History annual conference in 2023.

On site working in NTS property Falkland Palace, Fife

On-site treatment of The Mystic Marriage of St. Catherine, attributed to Francesco Brini, was carried out at Falkland Palace, a National Trust for Scotland property. Due to historic architectural changes, the large panel couldn’t be removed, so a work area was created on-site. Treatment took place over several months in view of the public, with daily sessions offering project insights and answering visitors’ questions.

During treatment of the back of the panel

Woodworm damage and splitting of the panel were treated and secured, and lost sections were infilled and supported.

During varnish removal

Layers of very discoloured and degraded natural resin varnish and old overpaint were removed. An isolating varnish layer was applied to the panel, prior to filling and retouching and the application of final varnishing layers.

The finished panel, after treatment

An isolating varnish layer was applied to the panel, prior to filling and retouching and the application of final varnishing layers. Measures were put in place to make the varnishing process as safe and as environmentally friendly as possible

‘Prometheus’, attributed to Luca Giordano, during varnish removal

This Italian late-Baroque painting of Prometheus, attributed to Neapolitan master Luca Giordano, was conserved and reframed for Perth Art Gallery. The large, robustly wax-resin lined canvas was carefully checked and stabilised where necessary. Heavy dirt and very discoloured non-original varnish layers were removed, along with discoloured and obscuring old fills and overpaint, which extended over significant passages of original paint.

After treatment

The fresh, vibrant brushwork and colouration of the image, with characteristic dramatic chiaroscuro, were fully revealed and revivified by cleaning, retouching and varnishing.

After treatment, framed

The frame was cleaned and stabilised, the obscuring Perspex glazing removed, and the painting rehoused with conservation reframing materials and techniques behind laminated low-reflective museum glass.

‘Jeunesse’ by Herman Richir, during surface cleaning

‘Jeunesse’ by Herman Richir (1866-1942), from the collection of The McManus: Dundee's Art Gallery & Museum, required conservation before going on loan.

During varnish removal

The painting was surface cleaned and the discoloured varnish removed. An isolating varnish layer was applied before minor losses were filled and retouched prior to final varnishing.

Whole back, with stretcher bar lining

Minor tears and damages at the extreme edges of the canvas were repaired and supported. The keys were secured, labels encapsulated and the whole reverse further supported and protected with a stretcher bar lining.

After treatment

Minor damages and losses to the frame were filled and retouched. A softwood build-up was secured to the back of the frame to accommodate the depth of the painting, then a flexible, lightweight but robust backing was applied to the reverse to protect the painting during transit and display.

Portrait miniature of ‘Baron Josef Otto Stockar von Bernkopf’ before treatment

This portrait miniature by an Unknown Artist, from a Private Collection, was conserved, reframed and housed for display and future preservation.

During surface cleaning

The portrait miniature was removed from its poor quality, damaged housing. Following research, testing and consultation with the client, the miniature was dry surface cleaned.

After image reintegration

Image reintegration was carried out under a stereo-binocular microscope.

After treatment, in new bespoke frame

The miniature was safely rehoused with museum-grade materials and housed in a bespoke, hand-finished frame behind protective, UV-blocking, low-reflective museum glazing.

Biography

Henry Matthews ACR

Following graduation from the University of Northumbria with an MA in the Conservation of Easel Paintings in 1996, I moved to Scotland to take up the prestigious John Bute Memorial Trust Internship for the National Trust for Scotland (NTS). The internship was co-hosted by the NTS, at the Curatorial Department in Edinburgh, and private conservator Clare Meredith, whose conservation studio was based at Hopetoun House, South Queensferry. Following the internship, I remained at Clare Meredith Conservation Studio as a freelance conservator from 1998-2003. In 2003, I co-founded Egan, Matthews & Rose, which continues to thrive today.

Client testimonials

We have had a long and supportive partnership with EMR beginning with a conservation audit of all of our paintings carried out some two decades ago. Since then, subject to our ability to secure grants, they have conserved a huge variety of paintings for us large and small, historic and contemporary. Their work has been exemplary from the preparation of estimates, the discussion of options, treatment and final delivery of works back to display. The City’s art collection, recognised as being of national significance to Scotland, has benefitted hugely from their specialist knowledge and expertise.

Anna Robertson
Fine and Applied Art Manager, The McManus: Dundee's Art Gallery & Museum

Our museums have used Egan, Matthews & Rose for more than 20 years. They have assessed, stabilised, cleaned, retouched and restored a wide variety of works for us - from contemporary art to Renaissance Masters. Henry has gone above and beyond by even lending his voice to a video we created about conservation of a painting! Fantastic company, a delight to work with!

Kirke Kook
Curator (Collections), Fife Cultural Trust (OnFife)

It’s been a pleasure to have worked on a number of projects with Egan, Matthews & Rose over the years, most recently on our painting of Prometheus. The service they provide has always been first class and I would highly recommend them for anyone looking to conserve or revive their art.

Amy Fairley
Art Curator, Culture Perth & Kinross

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