Silver London Ontario

Lesson

Portando avanti il lavoro intrapreso la lezione precedente, si è proceduto con parziali puliture a solvente su alcune zone poco rilevanti delle tele, in quanto la campagna fotografica atta a testimoniare lo stato di fatto delle opere appena giunte in laboratorio non è ancora stata eseguita in maniera professionale, con foto in b/n del formato standard fissato dalla soprintendenza. Tali prove sono state fatte in corrispondenza dei toni cromatici più freddi, in particolare sull’armatura del Santo, piuttosto che su porzioni esigue del cielo, o ancora in corrispondenza della vegetazione del suolo.
Sia sulla tela A (“Vergine Four Saints ") on the canvas B (" Virgin and Two Saints "), the solvents used were two: Depan and alkaline cleaner, rinsed in both MEK and the results were satisfactory, but the first product labeled to trigger an avalanche level of pictorial film in areas already subject to chalking.
This led us to prefer alkaline cleaner, applied to buffer, with exposure times of about one minute.

frame visible on the backside of A was treated with 20 Synacril lying on the brush very wet, the Synacril is a copolymer of methacrylate and etilmetacrilato in solution. It is a protective acrylic concentrate that can be used on woodwork, ceramic or metal, which produces a film with a brilliant all-encompassing effect (slightly darker).

B on the work, in conjunction with the most fragile areas of the painting shown above along the bar of the frame in order to fine tune the fragments and limit the fall, was applied in an area of \u200b\u200babout cm. 15X15 limited to the Virgin's mantle, the plume of the Holy hanger flag and the side portions, a consolidating type Plexisol, in 10% solution in MEK. The mixture was spread on the back with a brush for imbibition of the tissues. The result was an almost immediate saturation of the tones treated, accompanied by a good adhesion to the support of the fragments, which made it easier to run small with alkaline cleaners.

On Madonna B were given two tilings most important. The first, against the saint of the left leg, includes a portion of the sky, revealed a bluish gray, and highlighted a number of details previously hidden by layers of dust and other loose deposits, such as the lion's head on the shin.

The second tiling involved here too heterogeneous portions of different colors, and has been done on the right, in the two cherubs suspended on a cloud. Were brought to light the delicate tones of the flesh, the yellow background that dominates the work and the changing tones of cirrus clouds. A problem that has manifested itself during construction was the low resistance of the preparation of a reddish tone, which in contact with the solvent, where no pictorial film, gave a reddish haze surrounding the painting (especially visible on white) . To avoid further loss of color, was made a consolidation Plexisol 10% MEK in the back.

I remind you that all photos can be found at Picasa:

http://picasaweb.google.it/corsorestaurotele

What Does Strep Look Like

card restoration of the painting "Madonna and Child with four figures of Saints" Lesson

Technical restoration

DESCRIPTION OF THE OPERA

Virgin and Child with four figures of saints
TIME
Presumably the first half of the seventeenth century. ORIGIN

Chapel of St. Louis at Benevagienna homonymous village. The painting was located left of the altar of the chapel. AUTHOR

Unknown

SIZE 159.5 x 210.5 cm
SUPPORT
linen weave a dense (approximately 11 cm2 fibers), made up of three pieces assembled by two vertical seams.

PREPARATION The preparation, finely spread is somewhat thin. Established a good approximation of chalk, glue and red-brown pigment. FILM PICTORIAL

Oil painting stretched very homogeneous and free of brush materials. The paint surface looks so thin. The section noted
chart looks pretty and synthetic. DESCRIPTION OF THE SUBJECT

the center of the composition we find Mary in her arms the Child Jesus, crowned with flowers by two angels.
There are four figures of saints in the act of adoring the Virgin and Child.
Right, second floor, we find St. Louis, King of France, the dedicatee of the chapel, with the mantle of ermine, crown and scepter (attributes typical of the Saint). Before him, in the first piano, San Grato, vescovo di Aosta, con la testa del Battista fra le mani, come nell'iconografia tradizionale.
Dall’altra parte spiccano le figure di Sant’Antonio da Padova in primo piano con il giglio in mano, e dietro San Maurizio, soldato appartenente alla legione tebea, con lo stendardo bianco a croce rossa.
Sullo sfondo, ai piedi dei quattro Santi, un paesaggio montuoso con un agglomerato di case, molto probabilmente la stessa città di Benevagienna.
STATO DI CONSERVAZIONE
TELAIO
Il telaio è originale e assemblato con incastro a “L”, e i chiodi presenti risultano di fattura artigianale, per cui antichi.
L'essenza lignea è presumibilmente pioppo di area pedemontana and is in good condition (reason for which is expected to be maintained) with a physiological insect attack xylophagous, concentrated at the top.
Note the presence of a sleeper with a central support function, which has suffered a slight warping. A similar situation of deformation occurred in the bar higher. The four arrows indicate
side, one of which, in the upper left corner, has degraded by woodworm.

CANVAS The canvas has a considerable deterioration, although in the still very stretched and with a minimum disancoraggio from the frame.
Looking back there are three medium to large bleaching caused by moisture.
to signal the presence of written and probably not coeval, on the back of the canvas, perhaps a series of numbers.
presents various divisions, especially at the bottom, stitched from the back during a previous maintenance work. Note the precarious grip inserts of fabric used.
The upper right is characterized by an oblique cut in the vicinity of the wing of the cherub.
The inner part of an elongated tear, presumably caused by a candle, break the continuity of the composition.
with head of John the Baptist, to attribute this San Grato, we highlight four small cuts do not sutured and an adjacent semi-enclosed.
One vertical hole, large, This is about as San Grato rilsulta and still partly patched. Other
numerous interruptions of the support are detected at the bottom: an entirely sutured, divides the mountain scenery, while three others, also closed, are located in the far right, out of the dress of St. Anthony in this 'area there are four others, of various sizes, including two substantial in the hand of St. Maurice.
In the lower part of the bar at the bottom of the frame, a hole of considerable size has a tendon provissoriamente still anchored to the canvas.
The canvas during a previous maintenance work, was glued to the frame and this could be a problem in conservative-structural.

PREPARATION The preparation is degraded in several places due to its strong sensitivity to water. There are gaps of preparation and color at the top right, in correspondence with the banner held up by St. Maurice. This turns out to be macrolacuna occurred due to relative humidity. It is therefore the canvas view.
Another shortcoming of the same magnitude, but smaller, is on the top left at the background. From
sagnalarsi spread microleakage of preparation and color especially near tears. FILM PICTORIAL

The paint surface is fairly homogeneous on the whole, though overshadowed by the deposito di materiale incoerente, dal degrado della vernice e da sbiancamenti causati da umidità e materiale basico.
La crettatura è estesa a tutto il quadro anche se i cretti non risultano soggetti a sollevamenti o spaccature, mantendendo perciò una certa qual unità materica complessiva. Da notare che il cretto è a scodella su quasi tutta la superficie pittorica, solo sulle tonalità più chiare, soprattutto il bianco, che risulta reticolato in manier omogenea.
Nelle due lacune laterali della parte superiore si denota una totale perdita di film pittorico, nonché preparazione, con conseguente tela a vista.
Il colore risulta frammentario anche in prossimità delle numerose lacerazioni e fori presenti sulla tela.
In general, the color palette is distorted by the massive presence of organic debris on the surface.
At first observation revealed no alterations.
PAINT
The original paint shows that oxidative degradation of nature, added to deposits inconsistent surface, general obscures the reading of the work.
loose material
The presence of loose material on the painting surface in the form of organic dirt, animal droppings and deposits powder, is massive and extended to the whole work.
PROPOSED ACTION PROPOSED ACTION

transported to the laboratory after removing the canvas from the frame and after an initial pre-consolidation.
Realization photographic documentation in 6x6 B & W and Color.
Anchorage cleaning the painted surface to find the appropriate solvent removal of deteriorated paint and loose material.
Cleanup General polychrome with solvents and subsequent consolidation with the back termoplatico Plexisol P550 and / or Drink Gustav Berger in dilution to be determined.
Compensation from the back of the shortcomings of the textile support or alternatively removing the canvas from the frame, lacunae and applications with subsequent replacement of the perimeter strips on the frame previously established and the original treated woodworm.
Another possible alternative, although tends to be avoided, is a lining with termoplatico, operation however, stress that would bring foreign material and work covered in earlier than the alternatives.
replacement on the frame and filling gaps.
pictorial reintegration in accordance with the LD Painting final
spraying with protective and aesthetic function.