WhatsApp usEvery year, our team selects the projects that stayed with them the most, those that challenged our craftsmanship, deepened our appreciation for art across centuries and reminded us why we love what we do.
At Fine Art Restoration Company, we are privileged to work with paintings, objects and heirlooms of every era and style. Whether it’s a centuries-old portrait, a playful Victorian sketch, a piece of church architecture or an unexpected curiosity, each artwork offers a story waiting to be protected and shared.
Our highlights of 2025 show not only the variety of items entrusted to us, but also the profound connections our clients have with their pieces and the pride we feel in helping preserve them.
Above: members of our studio team with directors Chris and Anna
Joanne – Key Accounts Executive
Some of the most meaningful work this year involved paintings damaged in a house fire. Working to remove smoke contamination and restore clarity and colour was a powerful reminder of how important artworks can be in times of crisis. Helping clients reclaim cherished family pieces after such a traumatic event is one of the most rewarding parts of what we do.
Jenny – Client Care Manager
This year’s standout pieces for me were two extraordinary historic maps. Their monumental scale and the complexities of restoring the delicate sections pushed our team to think creatively and collaboratively.
Beyond the technical challenges, I simply love maps – the calligraphy, the artistry and the small decorative flourishes. Seeing these beautiful works revived and reframed was a joy and knowing they hold deep personal and historical meaning for their owners made the process even more rewarding.
Above: this large map was one of Jenny’s favourite restoration projects of 2025
Wiktor – Conservator
Three projects stood out for me this year, each one unusual and wonderfully rewarding. Transforming a fireplace surround into a mirror frame required creative problem-solving and sensitivity to the original craftsmanship.
In 2025, I was also able to work on frames and bespoke washline mounts for a very prestigious client (who cannot be named here for privacy reasons), this carried a special sense of responsibility and pride.
Ed – Art Handler
One of my highlights this year was assisting with a Louise Bourgeois spider sculpture at the U.S. Ambassador’s residence in London. Having previously seen a monumental version of the work at Tate Modern, it felt like a real honour to handle one up close. Collaborating with Amy on such an iconic contemporary piece, especially in such a significant setting, was a memorable reminder of the trust placed in us to care for extraordinary artworks.
Above: working on the Louise Bourgeois spider sculpture at the U.S. Ambassador’s residence in London
Amy – Conservator
A standout project for me was the restoration of a Cupid and Psyche sculpture that had become severely discoloured and had a shattered wing. Returning its delicacy and brightness was a meticulous process, but incredibly fulfilling.
I also loved working on several sculptures at the U.S. Ambassador’s residence in London, particularly the figure of Barbara Hutton. Learning about her remarkable and complex life, building Winfield House in the 1930s, living there with Cary Grant and later donating it to the U.S. government, made the conservation feel even more meaningful. Preserving artworks with such layered personal and globally important stories is one of the best parts of my work.
Above: this alabaster sculpture was one of Amy’s favourite projects of 2025
Mat – Art Handler
My favourite items were, without a doubt, the most unexpected. A taxidermy big cat head arrived with an unforgettable backstory: it had been shot by the client’s grandmother during her honeymoon in India, shortly after it ate her “second-favourite” dog. Handling something so unusual and with such a vivid piece of family lore was a real highlight.
And then, of course, a statue of C-3PO. It’s not every day you get to work with objects that range from natural history to iconic cinema and that variety is exactly what makes this job so endlessly enjoyable!
Chris – Director
Working at St Mary’s, Wreay has been one of the most inspiring experiences of my career. The church has captivated figures from Rossetti to Pevsner and now we have the honour of conserving its delicate alabaster windows designed by Sarah Losh.
Partnering with Lizzy Hippisley-Cox and her team has allowed us to approach every decision with care and respect for Losh’s original vision. This work is only possible thanks to the incredible support of the community, Friends of St Mary’s and generous funders including the National Churches Trust, the Wolfson Foundation, Benefact Trust, the Worshipful Company of Glaziers and Painters of Glass, Vinehill Trust, and the Garfield Weston Foundation.
As a member of the Twelve Men of Wreay and a resident of the village, helping to preserve this extraordinary building for future generations is deeply meaningful. The project continues into 2026 and every step reminds us of the importance of craft, heritage and community.
Above: a view of the church in Wreay from above (being viewed by Chris, Anna and Sophie) plus a detail of the hand-carved windows in-situ
Danielle – Lead Art Historian
This year I was particularly engaged by two 17th century Dutch portraits: Louis Wolters and Cornelia Quina. These works, copies after originals by Caspar Netscher, represent influential Amsterdam families whose histories are woven into the fabric of Dutch civic and mercantile life. In contrast, a charming painting of kittens under a parasol by Agnes Augusta Talboys required delicate attention after moisture damage.
Janine – Key Account Executive
A tranquil beach scene became one of my most memorable projects, not just for its vibrancy but because a client’s relative appears within it – the man leaning on the boat, his back turned to the viewer. That personal connection transformed the painting from a picturesque coastal moment into a living family narrative.
It’s remarkable how understanding the human story behind an artwork changes the way both owners and viewers relate to it, drawing us further into the real lives and communities captured on canvas. Working on a piece with such layered sentimental and historical value was a privilege.
Above: the beach scene was a favourite of Janine’s due to the family history, the kittens with a parasol were enjoyed by Danielle
Frank – Conservator
This year, some of my most rewarding work came from restoring fire-damaged furniture for a family. Many of these pieces arrived with severe charring, the decorative elements burned away, veneers lifted, colours lost to smoke and heat.
Each item required a careful assessment of how deeply the damage had reached before I could rebuild the surfaces and return them to a clean, cohesive, and attractive finish. One table in particular presented multiple challenges: woodworm infestation, mould, missing veneer and extensive warping from water damage.
Re-gluing the largest veneer section demanded patience, precision and a fair amount of reshaping before I could finally colour-match and varnish it. Seeing a piece go from structurally compromised to beautifully restored is incredibly satisfying and it’s meaningful to help preserve furniture that holds so much value for the family.
Above: Sabrina at work the studio
Sabrina – Conservator
One of my favourite projects this year was the restoration of a portrait of Nathaniel Wheatcroft, the client’s great-great-great-grandfather.
The painting had been discovered in storage in Alabama and, thanks to a diligent investigation on an internet forum, it was traced back to the Wheatcroft family. The custodians in the USA kindly shipped it across the Atlantic to them in England.
In our studio, the transformation of the severely damaged portrait was dramatic, lifting it from a dull, damaged state to a vibrant, expressive depiction of this important figure of the industrial revolution.
Nathaniel Wheatcroft played a significant role in building the Cromford Canal and warehouse, so it was especially rewarding to know that the restored work may soon be displayed at Masson Mills Museum, connecting the client’s personal heritage with regional heritage.
Anna – Conservator
This year I particularly enjoyed working on two very different but equally rewarding projects: a landscape painting with a tear running dramatically across the sky and a portrait with a Renaissance style. Each presented its own challenges and it was deeply satisfying to stabilise the damage and bring clarity back to works that mean so much to their owners.
We hope that you have enjoyed this insight into our work. We look forward to more exciting projects in 2026!
From all of our team, have a very merry Christmas and fantastic New Year.
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