This master thesis is a remedial conservation report of the painting Maria og Elisabeth med barna i et landskap, with its English title translated by the author to: Virgin and child with St Elizabeth and infant St John the Baptist, in a landscape from the Asker Museum collection. It combines all of the necessities of a conservation report by describing the paintings condition, and identifying its original and secondary materials prior to its 2013/2014 conservation treatment. It also includes information regarding further preservation actions that can be done to improve its longevity in its current environment. Investigations undertaken on the painting were both non-invasive and invasive. They combined visual investigations, photo-analytical methods of analysis and XRF investigations, together with optical microscopy examinations and SEM-EDX analysis. For the 2013/2014 treatment, its structural requirements were far more addressed than its visual integration and cleaning treatment needs, as they were considered far more subjective. It has gone through a delining, including a removal of its previous mounting and its previous stretcher was switched out. A strip-lining has taken its place by giving the painting the support its required along the edges and so it could be properly stretched to a new auxillary support in a traditional manner. Only a selective cleaning took place by removing varnish layers on all of the figures and a large overpainting found in the sky of the motif. Visual reintegration also included an attachment of a paspatout on the paintings lower and upper halves to lessen personal opinion onto such large regions of bare secondary canvas. Preventive measures such as the addition of a backing board and four corks were supplemented in order to aid in the painting s longevity. These were added to the painting in hopes of providing better support during handling and reducing the likelihood of condensation of forming on its backside as it is hung on an outer wall. Ethical considerations and deliberations were implemented with regards to all investigations and when concerned with 2013/2014 treatment options. Correspondingly, justification has been stated whenever original samples were extracted. It was treated with regards on being displayed in a historic house, implementing the importance of its last used phase into the 2013/2014 treatment while simultaneously accessing the possibility of representing a copy of a lost artwork by Raphael Sanzio. Discussion with the museum was a main concern to ensure that conservation work applied to the paintings was not proceeded upon without the Museums own personal opinions, seeing that they understand Otto Valstad the best. Overall, its 2013/2014 treatment was proceeded upon so that it still has the possibility of being further studied with regards to its secondary materials. The investigations and treatment were properly documented and their still remains a substantial amount of secondary material that may or may not have been added by Otto Valstads himself.