Ines Santy’s expertise is the conservation/restoration of oil paintings on canvas or panel.
Ines aims to provide a friendly and caring service towards her clients and their paintings. The same care is given, whether a painting is valuable or not. The paintings are usually brought to her studio for inspection (a receipt is handed over when the painting is left in her studio). On-site inspections are occasionally carried out as well. A condition report with detailed treatment proposals and estimated costs are provided free of charge. She attempts, at all times, to communicate the issues with clarity and transparency. A general Glossary of Technical Terms accompanies her condition reports. Close inspections are carried out with raking light, UV-light and small cleaning tests, i.e. surface clean and varnish removal tests.
Treatments include consolidating paint/ground flakes, removing grime and nicotine layers, surface cleaning of reverse of paintings, treatment of beetle flight holes, removal of yellowed varnish coats, mending of tears, filling of holes and paint/ground losses, retouching, lining, replacing of stretchers, tensioning of canvases, adding lost wedges, securing of wedges, re-varnishing, conservation enframing, etc.
She carries out conservation/restoration work to museum standards. She provides a factsheet on how to care for your paintings post conservation. She makes sure that her techniques and skills remain up to date through CPD (continuing professional development) and uses reversible and inert products/materials.
There is plentiful parking available within a short walking distance from Ines Santy’s studio and it is close to the bus station, tram stops, and a 10 minute walk from Waverley station.
Conservation enframing (re-framing)
This may include surface cleaning of the front and back of the frame, removal of paper gum tape, treatment of beetle flight holes, construction of a wood build-up at the back of the frame when necessary, addition of padding material in the rebate, securing of the painting with metal plates and screws, protection of the reverse of the painting with a backing material, taping to keep out dust, renewal of the fittings and hanging wire when necessary, protection of labels with polyester film when applicable, addition of two corks or foam pads to aid air-circulation.
Small repairs of frames are also carried out, such as re-attaching loose compo (frame ornamentations) pieces and toning down of surface finish losses. These small repairs are only carried out if the client does not want a full restoration by a gilding conservator.
Ordinary glass can also be replaced by conservation glass, i.e. 99% UV-protective and low-reflective glass.
Lining
Ines Santy carries out structural work, such as lining (attachment of a second canvas to support large tears in the original canvas for example). Sometimes the painting needs to be de-lined first (removal of a second canvas that was previously attached) if it is failing or torn. If the canvas was lined with wax/resin than the same glue would be used so as to not introduce too many different adhesives; also using a linen lining canvas. If the painting has not been lined before, then she uses a modern adhesive, such as Beva 371 adhesive (ethyl vinyl acetate) with a polyester cloth.
Conservation and restoration
In Ines Santy’s practice, remedial work is often the priority, depending on the level of damage and instability of the painting. This restoration work is firstly outlined and costed. Sometimes she splits up her treatment proposals so that the client can decide whether they would also like to go ahead with conservation work, which is important in the long term to the painting’s preservation in the future. For example, additional treatment may include removing the canvas from its stretcher, flattening of a shallow canvas deformation in a corner, acquiring a new stretcher, adding a loose lining (a polyester cloth, not adhered to the original canvas) to slow down oxidation of the original canvas (which leads to embrittlement over time), addition of UV-protective and low-reflective glass sheet, etc.
‘Portrait of Professor W M Law of Elvingston’ by William Aikman, c1720, before treatment
William Aikman, during treatment
‘Fake Panel’ by the Spanish Forger, c1900 – 1930, during treatment
Spanish Forger, during treatment
Spanish Forger, detail after treatment
Spanish Forger, after treatment
‘Brig O’ Balgownie’ by William Purser, 1835, before treatment
William Purser, during treatment
William Purser, after treatment
‘British Men O’ War’ by a Follower of Ludolph Bakhuizen, 18th century, before treatment
Follower of Ludolph Bakhuizen, during treatment
Follower of Ludolph Bakhuizen, during treatment
Follower of Ludolph Bakhuizen, reverse after treatment
Follower of Ludolph Bakhuizen, front after treatment
Biography
Ines Santy ACR
Ines Santy has been conserving oil paintings for 30 years and received accredited status in 2003. She initially trained at the Royal Academy of Fine Art in Antwerp, after which she received a Post-Graduate Diploma in Art Conservation and Restoration from the Royal Academy of Art in Ghent. She has studied classical drawing from the age of 11 at the Municipal Academy of Art in Sint-Niklaas, Belgium, where she was taught drawing of still life (4 years), portrait (1 year) and life drawing (6 years) at the weekends.
She gained experience for two years at Historic Scotland Stenhouse Conservation Centre and subcontracted on a part-time basis for 3.5 years to Clare Meredith ACR (Plowden medallist).
Ines Santy has conserved paintings by Titian, van de Velde, van Ruisdael, Lawrence, Landseer, Vlaminck, Boudin, Ramsay, Raeburn, Peploe, Alan Davie and Bellany. She has carried out work for The Royal Collection, the National Galleries of Scotland, The National Trust for Scotland, The University of Edinburgh, Edinburgh College of Art, The Abbotsford Trust, the City Art Centre (Edinburgh), West Lothian Council and private clients.Client Testimonials
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.
C Cameron
Private Client
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.
Magda Salvesen
Director, Jon Schueler Foundation
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.
Andrew H N Gray
Private Client