ARTS HIGHER SCHOOL OF CONSERVATION AND RESTORATION OF

CULTURAL HERITAGE. LEÓN, SPAIN.

ACCADEMIA DI BELLE ARTI G.B CIGNAROLI. VERONA, ITALY: ERASMUS

STUDIES.

POLITECHNIC UNIVERSITY OF VALENCIA, SPAIN.

EXTERNAL TRAINING:

- MUSEUM OF LEÓN

- VERONA (ITALY)

- ALTARPIECE OF TARTANEDO’S CHURCH (GUADALAJARA)

- SCULPTURES OF SANTA ANA’S HERMITAGE, CAUDETE (ALBACETE)

-SCHOLARSHIP IN THE VALENCIAN INSTITUTE OF CONSERVATION AND

RESTORATION

INDEX

La transfiguración.S.XVIII Colegio de los Padres

Agustinos, León.

Photographicdocumentation

Facing

Removal of a canvasfrom the stretcher andthe frame.

Lining and tensionedon a stretcher

Cleaning test

Chemical cleaning

Filling

Initial Photo Process Photo

Santa Clara de Montefalco, S. XVIII Colegio de los Padres Agustinos, León.

Photografic documentation

Facing

Removal of a canvas from the stretcher and the frame

Lining and tensioned on a new stretcher

Chemical cleaning and thinning of overpaints

Filling

Initial Photo Cleaning Filling

Virgen de Guadalupe. SXVII. Colegio de los Agustinos, León.

Photographic documentation

Facing

Mechanical cleaning of the reverse

Removal of dumps and flake laying.

Support treatment: Inlays and patchs.

Tension strip lining

Tensioned on a stretcher

Physical and chemical cleaning

San Fulgencio, Anónimo. Siglo XVIII. Colegio de los agustinos, León.

Photographic documentation

Facing

Removal of a canvas from the stretcher and the frame

Cleaning test

Lining and tensioned on a stretcher

Varnish removal and thinning of overpaints

Initial Photo Process Photo

San Miguel Altarpiece, Vallecillo. Siglo XVI.

Dismantling and transfer to the studio

Mechanical cleaning

Extermination of insects and consolidation

Structural reintegration

Physical-Chemical cleaning

Filling and chromatic retouching

Mounting to the original place

Wooden panels: Mechanical cleaning

Facing and colour consolidation

Support consolidation

Physical-Chemical cleaning

Filling and chromatic retouching

Protective varnish coating

Ceramic panel dedicated to Virgen del Camino, José Macías y Macías. Siglo XX.

Photographic documentation and conductivity tests

Cleaning of the obverse and reverse

Manufacture of missing pieces

Structural and chromatic reintegration

Transfer to a new support, Aerolam.

Relocation to its original place.

Initial Photos Filling

Ceramic panel dedicated to Virgen del Camino, José Macías y Macías. Siglo XX.

Final Photographs.

Obverse final photo Reverse final photo

Reliquary cupboard of Monastery of the Concepcionist Mothers. S. XVI, Berlangade Duero, Soria..Edades del Hombre

Canvases:

Support treatment

Colour consolidation

Cleaning

Filling and cromatic retouching.

Cupboard: Consolidation

Insert some wooden fillets into fisures

Cleaning

Filling and cromatic retouching

Preventive Conservation: Packing of the Reliquary Cupboard relics.

Internal structure of the reliquary Cabinet

Dismantling of the relics

Chemical cleaning

Filling

Applying bole

Cromatic retouching with goldenwatercolor

Wood sculptures belonging to a Venecian church

Fixing of parts with risk of detachment

Wood consolidation

Extermination of insects and wood cleaning

Gilding cleaning

Filling

Protection of metallic elements

Chromatic retouching

Tomb belonging to the family seregoSerego-Alighieri, Cimitero Monumentaleof Verona.

Take samples and documentation

Mechanical and chemical cleaning

Structural and chromatic reintegration

Sante Prunati, unknown. Siglo XVIII. Work perteneciente a la Pinacoteca de laAccademia di Belle Arti G.B Cignaroli, Verona. Oil on canvas.

Facing

Relining

Tensioned on a new stretcher

Chemical cleaning

Removal of overpaints

Filling and chromatic retouching

Protective varnish coating

Initial photo Final photo

Bobak reinforcement system for a warp wooden panel.

Chromatic retouching using puntillismo, rigatino, trattegio and

ilusionism technic.

Before Later

Manufacture of mouds and reproductions with different materials

Documentation, cleaning , colour consolidation of gilding and polychromy and support consolidation of a popular exhibitor of religious imagines.

Documentation, adhesion structural and chromaticreintegration of a Modernistwall tile panel.

Surface cleaning Extermination of insects Consolidation Chemical cleaning

Structural reintegration

Realization of moulds

Cromatic and gold retouching and protectivevarnish coating

Facing

Consolidation of strates

Mechanical and chemical cleaning

Filling and chromatic retouching

Protective varnish coating

Baroque artarpiece, S.XVII

Consolidation

Mechanical and chemical cleaning

Adhesion of pieces

Structural reintegration

Filling and crhomatic retouching

Protective varnish coating San Joaquín and Pastor, S. XX.

Taller de Olot, Alicante

Christ made in paper pulp , S. XVI-XVII, Anónimo.

Initial Photographs RX Photo Final Photo

Initial Photo Final PhotoInitial Photo Final Photo

Virgen, anónimo. S.XXAltar Christ, anónimo. S.XX

Final Photograph

Virgen de los Desamparados, VicenteLópez Portaña (1808) Oil oncanvas. Sagunto (Valencia).

Photographic documentation

Partial facing

Support treatment: Inlays, intarsies,patches and tension strip lining

Framework of the canvas Santa Isabel y Santa

Inés Convento de Santa Clara, Canals

(Alicante)

Facing and localiced fixing of polichromy

layer.

Cleaning and estructural and cromatic

reintegration of the reverse.

Cleaning of the mecca gilding and removal

of overpaints.

Structural reintegration and filling of anverso

Applying bole and polishing

Chromatic retouching.

Final varnish

Framework of the canvas Huída a Egipto.Convento de Santa Clara, Canals(Alicante)

Facing and localiced fixing ofpolichromy layer.

Cleaning and estructural and cromaticreintegration of the reverse.

Elimination of any wax residue

Cleaning of the mecca gilding andremoval of overpaints.

Structural reintegration and filling ofanverso

Applying bole and polishing

Chromatic retouching.

Final varnish

Framework of the painting La Virgen deL

Rosario, San Vicente y Santo Tomás.

Nicolás Borrás. Ibi (Alicante).

Shellac varnish cleaning with poulrice

and mechanical cleaning with

bisturi.

Mi Mujer y Mis Hijas en el Jardín (1920),

Sorolla. Oil on canvas. colección

Masaveu, Oviedo.

Training of reception of a Sorolla’s piece

with the restorer of IVC+R easel painting

department, Immaculada Chuliá

Blanco, for the exhibition of Zuloaga

and Sorolla.

Taking photographs of different works with

“Reflectance Transformation Imaging” (RTI).

Libro de actas de La Escuela de Cristo

Grabado coloreado y manuscrito,

Archivo Diocesano de Valencia, S.XVII

La Predicación de San Juan Bautista, José Vergara, Iglesia Parroquial

San Juan Bautista de Chiva, Valencia. Oil on canvas.

Removal of antique fillings. Cleaning with Acetone.

Paint layer facing

Consolidation of paint layer

Consolidation of the obverse in local places

Altar front of La Virgen Niña con sus Santos Padres, Siglo XVII. Anónimo.

Removal of animal glue residues and protective paper

Filling of lacunas

Level a filling and cromatic retouching.

Extermination of insects of a set of

pieces realized in wood belonging

to a rosette.

Virgen de los Desamparados,

Anónimo. Siglo XVII. Monasterio de la

Encarnación de Ávila. Oil on canvas.

Manufacture of reinforcement

patches

Inlays and intarsies

Lining in hot and suction table.