ne
Art
Art Work: Clockwise from top, Greg Bishop manages
the business; a signed drawing by Mary Cassatt awaits
restoration; specialty paints and brushes are required.
and people who prize a piece for personal
reasons. "Both are equally valuable," says
Bishop. "That's the difference between
the museum world and the private restoration world. We serve clients that the
museum world wouldn't go near."
Bishop, who now functions as business
manager and oversees production, says,
"We are materials experts and Peter is our
secret weapon—he's looked at thousands
of paintings in his lifetime, so he has a
visual library in his head. He understands
the soft facts—how the brushstroke goes,
what the overall impression is—that can
only be known by looking at works purposefully and intentionally and recording
all that data over decades." Such breadth
and depth of industry expertise is vital
for a company known to handle works by
Rembrandt, Rousseau, Kokoschka, Goya,
Mary Cassatt, Andy Warhol, and Dürer to
name a few.
The private restoration world and the
museum world differ in a number of ways
explains Bishop. In museums, people
typically work with pieces that have
been very well cared for. Oliver Brothers,
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