Supported by the Friends of the Aigantighe Art Gallery

Total Restoration Costs to Date: $4,097.85 (plus additional sculpture and major painting projects)

Many works donated to the Aigantighe Art Gallery arrive in a condition that is not suitable for exhibition. Some suffer from deterioration such as foxing—a type of mould that can threaten the entire collection if not isolated. These fragile works are often stored separately to protect the rest of the holdings, which places pressure on already limited storage space. To address this, the Friends of the Aigantighe have prioritised the restoration of works on paper to improve collection care and reduce storage strain. The restoration efforts generally involve professional cleaning, mould removal, paper and pigment stabilisation, reframing, and reconditioning so that artworks can be safely displayed and stored with the broader collection.

Paintings

Thomas Kennington – The Mother (1895)
Restored to exhibition standard; originally part of the early civic collection.

Frederick Aldridge – Brig Sailing into Port (1921)
Watercolour restored to full colour vibrancy and paper stability.

Vincent Waagrez – The Brook
Oil on canvas requiring substantial restoration before display.

Sculptures

Francis Shurrock – The Gymnast (c.1927)
Bronze sculpture stabilised and conserved after corrosion was detected.

Works on Paper (Etchings, Drawings, and Watercolours)

Albert James Rae – Caroline Bay (1923)
Albert James Rae – Boats
Betty Curnow – Power and Glory (1971)
Frank Short – Broadstairs Pier
G.L. Brockhurst – An Old Corsican (1921)
George Lambert – Untitled (Pen and Ink Drawing)
Giovanni Piranesi – Pyramid of Caius Cestius (c.1745)
James Greig – Untitled – Portrait
Leonard Squirrell – Untitled – Landscape
Sir James Guthrie – Navvy (1890)

All these works were treated for foxing, acidic backing removal, re-matting, and rehousing in conservation-grade materials, making them safe for long-term display and storage.