Happy Holidays

From Studio Carolina Izzo

We wish to thank all our clients and colleagues in the world of Art and Heritage.  May 2018 bring you good fortune.
Our Studios in Wellington and Auckland will close 22 December and re-open 15 January 2018

Studio Carolina Izzo has chosen one of the beautiful works of art to come through the Studio this year for our Christmas card.  It is the early New Zealand work, “Stanley Track, Waimangu Gorge” by Charles Blomfield, 1913.  Our conservation intervention included the structural conservation as well as surface cleaning. In remarkably stable condition, the painting which represents the powerful New Zealand bush, is extremely well painted.
On this occasion we were also able to collaborate with one of the owners, a qualified joiner, to conserve the frame. We are advocates of the importance of the painting’s surrounding. Frames have often been chosen by the artist and are a significant factor in the artwork.  Too often original frames are discarded.  

For More information about Charles Blomfield please go to


Studio Carolina Izzo is dedicated to conserving art and heritage

Our professionally trained and accredited art conservators offer a wide range of remedial art conservation treatments to restore art and heritage objects in private, gallery and museum collections.  Our heritage team specialises in the project management of restoration and conservation procedures on heritage buildings.  Studio Carolina Izzo provides professional art conservation treatments to restore, repair, preserve and conserve art and heritage objects including historic and contemporary paintings, frames and sculptures.  We offer international and national workshops, collection management advice, and disaster procedure plans.

Carolina has over thirty years experience in art conservation and heritage restoration, which began with her training in Florence.  She has managed large art conservation teams in Italy and New Zealand and is a staunch advocate of heritage conservation.

“Every work carries with it an aesthetical case and a historical case: the first concerns the communicative intent of the artist, that which the artist wishes to be seen, the second contains the time that has passed since the production of the work and its entrance into our conscience.” — Cesare Brandi

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