18th Century oil on canvas Portrait
This portrait arrived with an impact tear and had discoloured varnish.
The treatments involved:
Shakespeare
This oil painting had a variety of issues that needed repairing… ‘Shakespeare’ had an uneven surface that was not taught to the stretcher; it had several areas of paint loss and a hole.
The painting was surface cleaned and the discoloured varnish removed. The painting was then removed from the stretcher in order to correct the planar deformation and to strip line.
Using weights, heat and moisture treatments the uneven surface was flattened. The Strip Line was attached using heat and BEVA film adhesive. The painting was then re-stretched to the stretcher and attached with the original nails. Any paint loss areas were filled and holes were repaired using canvas inserts, canvas threads and BEVA Adhesive. The filled areas were retouched. Finally the painting was varnished.
HORATIO COULDERY: ‘Taking Turns’Â OIL ON CANVAS PAINTING (19th Century)
CONDITION REPORT
 On arrival, observations detect that the surface of the painting appears to be stable; there are no visible tears and the stretcher appears to be taught. The canvas edge is stable apart from nails attaching the stretcher to a wood surround. The canvas is torn and degraded at these areas. At present these tears do not seem to be affecting the planar level of the canvas. No apparent need for strip lining at this time.
There is a small triangular patch to the rear top middle of the canvas.
A slight stretcher bar indentation is visible.
There are stains to the rear.
TREATMENT PROPOSAL
- Frame Removal
- Dry clean (chemical sponge) rear of the painting
- Surface clean
- Varnish/ coating Removal
- Varnish application
In particular the owner of the painting was concerned about the intense darkness of the painting, hiding much of the imagery. There appeared to be a thick textural coating over the painting. Originally thought to be a discoloured varnish, the coating turned out to be a thick gluttonous in texture coating that was extremely difficult and time consuming to remove. As shown in the before and after images, the imagery was eventually revealed and re-varnished.
Horatio Cauldery ‘Taking Turns’ Before Treatment
Horatio Couldery ‘Taking Turns’ After Treatment
Restoration of ‘Docherty’ landscape painting (1930’s)
Oil on Canvas 61 x 51cm Unframed
CONDITION REPORT
On close inspection, the surface of the painting is largely stable. There are several small areas of friable, flaky paint (1-2 cm). See images below.
The painting is taught to the stretcher and does not require any structural work.
Despite having been kept in a smoking environment, the surface does not appear to have much surface dirt, probably due to being kept in a glazed frame. The varnish does have some discolouration and on testing, does appear to be easily removed.
There does not appear to be any past restoration work applied.
TREATMENT PROPOSAL
- Frame Removal
- Consolidation of flaky paint areas
- Varnish Removal
- Fill and re-touch paint loss areas. Possibly the small holes in the corners
- Varnish application
- Glass clean
- Re- attach to frame
TEAR REPAIR ON A 19th CENTURY PORTRAIT PAINTING (OIL ON CANVAS)
Painting before treatment
The painting was damaged during transportation. It had a large tear from the shoulder area up to the neck.
The painting had been previously wax relined which can cause some difficulty in repairing a tear. The canvas can be thick, brittle and not easily malleable.
The threads that were coming through to the front, were gently manipulated to the rear of the painting. The tear was temporarily taped to keep in place and the threads were attached at the back using a re- weaving method and BEVA film bridge joints (a heat activating adhesive).
The tear was then filled and re- touched
Tear temporarily taped
Tear filled
Tear Repair after treatment