Burica Inc. Fine Art Conservation has been dedicated to preserving art and artifacts for future generations for more than 30 years. The use of materials and methods for treatment are carefully undertaken for the preservation of the aesthetic, conceptual, and physical characteristics of the work of art, considering the future effects of the conservation materials incorporated into the art during the repair process. Appropriate conservation techniques are selected that respect the artist's original decisions regarding materials, methods, construction and conceptual ideas. With decades of learning and making my own works in art school, (both a BFA and MA), and discovering Fine Art Conservation in 1986; I spent 11 intense years of treating great masterworks at Orrin H. Riley, fine art conservation company. In 1997, I opened my own lab, and continued making my own works of art: drawings, watercolors, oil paintings, sculpture and they've become lessons which continue to give great insight to other artists and their techniques. Conservation is difficult when you love the art.
For auction houses, galleries, and private pre-sale meetings, I can examine surfaces for issues. Most paintings and works on paper have been touched or treated one way or another, which does not have to be a bad thing; just that it is nice to know this when possible. Benefit from my expertise before the sale, via email photos and verbal discussions. Basic Condition Reports start at $850.00.
All correspondence, documentation and photos are secure on my own Hard drives and confidential, and will not be shared without your permission.
Once artwork is examined, I'll verbally explain condition and conservation treatment options, including digital pictures documenting the current condition of the art. Base charge is $1000, anything written out more. If Treatment is requested, I will ask for deposits, along with insurance waivers. Treatments include reconstruction of support elements, distortion repair, tear mending, and lining or un-lining of paper and even canvases as necessary. Old linings could be either wax or paste type adhesives; and one must consider why it lined in the first place. These initial repairs are followed by compensating losses, cleaning, in-painting, and applying fresh coatings/varnish. I always try to save and reuse the original wooden supports, tacks, and staples.
I am not a framer, but because I have seen more works of art on paper damaged by inappropriate framing than by age or accidents, I provide specialized recommendations for the technical framing components necessary to avoid future damage. Some of these conservation concerns include ways to mount, hinge, and glaze a work to prevent damages from UV light or poor mounting. If you use hinges, try to use "cooked paste" with no additions, never use sticky tapes, never ever use white glues.
I have access to other talented conservators, with whom I contract to work together on larger projects. I know art moving companies and art storage warehouses, as well as specialized rigging companies to safely de-install and re-install large pieces.
Note: if emailing me for the first time, there will be a BLOCK of your email, until I see and un-block your email up on my server, then I will reply with my other email. Please be discreet and not sent too large of photos, I would rather have more photos from you;: details of the sides and back of the works, raking and ascue or lopsided shots...all that are downsized.