leyre quevedo. portfolio

LEYRE QUEVEDO BAYONA CONSERVATION AND RESTORATION

MY PORTFOLIO

MY PORTFOLIO

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CONTENTS

ABOUT ME

PERSONAL INFORMATION AND CONTACT

MY WORK

PROCEDURES: ETCHING

POLYCHROMED WOOD

OIL ON CANVAS

RESTORATION: PICTURE

MISSAL

ETCHING

ESCULPTURE

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ABOUT ME

My name is Leyre Quevedo, and

I am a 20-years-old student of the

Superior Artistic Educations of

Conservation and Restauration

of Cultural Heritage, in the Art

School “Mariano Timón” of

Palencia, Spain.

I love Art in all its forms, but I

especially like everything related

to historic textiles and clothing.

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PERSONAL INFORMATION AND CONTACT

C/ Tizona 2, 09320.

Cogollos, (Burgos)

Spain.

(+34) 664 471 273

leyrequevedo

[email protected]

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2012 – Present

Superior Artistic Educations of

Conservation and Restauration of

Cultural Heritage (specialty of Textiles) SCHOOL OF ARTS “MARIANO TIMÓN”, PALENCIA

2014

Practical Workshop of Restoration and

Cataloging Ethnographic Heritage MONASTERIO DE LA SANTA ESPINA

2010- 2012

High School Degree in Arts SCHOOL OF ARTS AND SUPERIOR OF DESIGN of

BURGOS

MY WORK

As a student of Conservation and Restoration I have done

some projects to approach the different materials which can

be part of art works.

These works has been done throughout the past two years,

mainly in two subjects:

• Technical and Methodological Principles of

Restoration

• Material’s procedures

Both of them are about Organic and inorganic materials.

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MY WORK

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PROCEDURES

1. OIL ON CANVAS

2. POLYCHROMED WOOD

3. ETCHING

RESTORATION

1. PICTURE

2. MISSAL

3. ETCHING

4. SCULPTURE

PROCEDURES: OIL ON CANVAS

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Starting with a

frame and a piece

of canvas, I pieced

it together to have

a support ready to

be painted.

I mixed the powder

pigments with

linseed oil and

begun to paint

PROCEDURES: POLYCHROMED WOOD

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Starting with a piece of wood, I carved it and after obtaining

the desired shape I applied different materials in order to get

the piece ready to be gilded. I let the layers visible so I can

figure out all the process. After that, I applied tempera paint

and did a sgraffito.

PROCEDURES: ETCHING

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Different phases of the etching:

carving in the varnish that

protects the metal from the

acid, and the matrix inked.

The print of the matrix in paper

with water-based black ink.

RESTORATION: CANVAS

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INTERVENTION:

• Cleaning

• Color consolidation

• Mechanical consolidation of

the canvas’s edges

• Recovery of the gaps in the

canvas

• Assembly canvas in his

original frame

• Application of stucco

• Chromatic reintegration

• Protection

TECHNICAL DETAILS:

• Material: ACRILIC ON CANVAS

• Date: 21th CENTURY

• Autor: L. Quevedo

• Dimensions: 47,5cm x 31,1cm

RESTORATION: MISSAL

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TECHNICAL DETAILS:

• Material: INK ON PAPER


• Dimensions: 32,5 x 27,3cm

INTERVENTION:

• Cleaning

• Rehydration

• Chemical consolidation

• Mechanical consolidation

• Chemical whitening

• Reintegration of the gaps


RESTORATION: ETCHING PRINT

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TECHNICAL DETAILS:

• Material: INK ON PAPER

• Technic: ETCHING PRINT


• Dimensions: 35,4 x 26 cm

INTERVENTION:

• Cleaning

• Rehydration



• Chemical whitening

• Reintegration of the gaps


RESTORATION: SCULPTURE

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TECHNICAL DETAILS:

• Material: POLYCHROMED WOOD


• Dimensions: 115 x 57 x 33 cm

INTERVENTION:

• Cleaning




• Protection

Under the current polychromies we found the original one, a gilded. We were unable to restore it due to the advanced degradation thereof.

EXPERIENCE WITH TEXTILES

Along the current academic course I

have been learning about specific

techniques of textile restoration, from

documentation to consolidation and

creation of expositive and storage

supports.

These are some of my projects:

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RESTORATION OF A TEXTIL PIECE

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A detail of the piece, before and after the

intervention. In the right one the gap has

been consolidated due to the tensions it

makes in the piece, and the reticular structure

has been given back to their original state.

A piece of textile from late

19th century.

The intervention consisted in a mechanic cleaning,

by microaspiration, a

wash, and then a

correction of the

imperfections, because

the piece was very

deformed, and the

reticular structure was

completely irregular due to

that deformation.

As a part of the preventive

curation, an storage

support was made.

19th CENTURY CARPET

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Carpet from the Palencia’s Cathedral,

dated around 19th century. It has a big gap

in the inferior part.

The studies shows that the warp was made

of flax and the weft and the knots were

made of wool.

The intervention consists in recover the

blank gaps, doing knots as the original

ones, and passing the missing weft.

Also a mechanical cleaning was made

between each process.

18th CENTURY COPE

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Cope from the 18th century.

Material: Silk, flax and metallic

string.

Technique: Damask, brocade,

and moiré.

The main damage was the

deformation, so the

intervention‘s goal was to

recover the original shape,

removing the deformations,

wrinkles and folds.

The golden part presents gaps

of wart, so a consolidation

was necessary in order to

stabilize the textile and

prevent it from more

damages.

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