At the New Brunswick Museum, decades of careful conservation have transformed faded, damaged masterpieces into vibrant windows to our past. Discover the dramatic transformations that have saved some of New Brunswick’s most important artistic treasures for future generations.
Caring for a collection is a two-part process: preserving it for future generations and sharing it with the public through exhibitions. Sometimes, however, objects are too fragile or damaged to be displayed, which can compromise the artist’s original intent. Since 1986, the New Brunswick Museum has been engaged in an ongoing fine art conservation project with the Provincial Fine Art Conservation Laboratory, located at the Owens Art Gallery in Sackville, New Brunswick. Led by now-retired Fine Art Conservator of New Brunswick, Adam Karpowicz, the project has breathed new life into several significant works of art.
Many of the paintings in the Museum’s collection are significant not only for their historical value but also for their cultural and artistic importance. However, over time, the materials used in their creation can deteriorate, and the methods used to frame and display them can cause damage. In some cases, accidental damage or the passage of time can also take its toll. To ensure the long-term preservation of these works, conservation treatment is often necessary.
The following paintings are just a few examples of the works of art that have benefited from Adam Karpowicz’s expertise. Before and after treatment, the difference is striking, and the artist’s original intent is once again visible.
Image 1 displays a before-and-after comparison of Kenneth Keith Forbes’ portrait of Richard Bedford Bennett.
Image 2 shows the transformation of “Woodland Fishing Scene with Boy” by John Christopher Miles.
Among the treated works is a portrait attributed to Thomas Hanford Wentworth of an unidentified man, possibly Charles Humphrey. The conservation treatment revealed details that had been obscured by years of grime and deteriorated varnish. Image 3 provides glimpses of this portrait before and after treatment.
Another notable conservation project involved “The Ruined Temple” by John Thomas Stanton, after Richard Wilson. This oil on millboard had suffered from structural issues and surface contamination that distracted from its artistic merit. Image 4 shows this landscape painting before and after treatment.
Perhaps one of the most technically challenging projects was the treatment of a reverse-painted oil on glass depicting the Bark Mary Rideout of St. Andrews, N.B. from 1868. This unusual painting technique, where the artist applies paint to the back of a glass surface to be viewed from the front, presents unique conservation challenges. Image 5 features this maritime painting before and after conservation.
Additional works that have received conservation treatment include Michael Anderson’s “Aaron and Hur Staying Up the Hands of Moses during the Battle with the Amalekites at Rephidim” (Image 6), John Christian Schetky’s “Battle of the Chesapeake and the Shannon” (Image 7), Albert Gallatin Hoit’s pair of portraits of Mary Ann Street Berton Beckwith and John Adolphus Beckwith (Images 8 and 9), and Marion Elizabeth Jack’s “Apple Trees at Burton, New Brunswick” (Image 10).
Through these conservation efforts, the New Brunswick Museum ensures that important works of art remain accessible to the public and scholars alike, preserving New Brunswick’s artistic heritage for future generations.
