INDEX
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
La transfiguración.
S.XVIII Colegio de los Padres Agustinos, León.
Initial Photo
Process Photo
Photographic documentation Facing Removal of a canvas from the stretcher and the frame. Lining and tensioned on a stretcher Cleaning test Chemical cleaning Filling
Initial Photo
Cleaning
Filling
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
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
Initial Photo
Process Photo
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
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
Initial Photos
Filling
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.
Obverse final photo
Reverse final photo
Ceramic panel dedicated to Virgen del Camino, José Macías y Macías. Siglo XX. Final Photographs.
Reliquary cupboard of Monastery of the Concepcionist Mothers. S. XVI, Berlanga de 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
Internal structure of the reliquary Cabinet
Dismantling of the relics Chemical cleaning Filling Applying bole Cromatic retouching watercolor
with
golden
Preventive Conservation: Packing of the Reliquary Cupboard relics.
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 serego Serego-Alighieri, Cimitero Monumentale of Verona.
Take samples and documentation Mechanical and chemical cleaning Structural and chromatic reintegration
Initial photo
Final photo
Sante Prunati, unknown. Siglo XVIII. Work perteneciente a la Pinacoteca de la Accademia 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
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Bobak reinforcement system for a warp wooden panel.
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Chromatic retouching using puntillismo, rigatino, trattegio and ilusionism technic.
Before
Later
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Manufacture of mouds and reproductions with different materials
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ď‚ž
Documentation, cleaning , colour consolidation of gilding and polychromy and support consolidation of a popular exhibitor of religious imagines. Documentation, adhesion structural and chromatic reintegration of a Modernist wall tile panel.
Surface cleaning Extermination of insects Consolidation Chemical cleaning
Structural reintegration Realization of moulds Cromatic and gold retouching and protective varnish 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, An贸nimo.
Initial Photographs
RX Photo
Altar Christ, an贸nimo. S.XX
Initial Photo
Final Photo
Final Photo
Virgen, an贸nimo. S.XX
Initial Photo
Final Photo
Final Photograph
Virgen de los Desamparados, Vicente López Portaña (1808) Oil on canvas. 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 of polichromy layer. Cleaning and estructural and cromatic reintegration of the reverse. Elimination of any wax residue 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 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.