Portrait of Johann I of Saxony

'Insects CCI 2,001,602'

The insect remnants excavated from the wood panel were checked by Dr. E.C. Becker at Agriculture Canada. Twelve were Anobium punctatum DeG. One insect was Spathius sp. a Hymenoptera (wasp). This wasp lays its eggs in larvae of wood beetles. The eggs hatch and the resultant larvae parasitizes its host larvae. The larvae and adult do not bore into wood. This particular individual could have been parasitizing the anobiid larvae or more probably a larvae of a bark or other wood beetle which was in the wood of the tree before the wood was fabricated into a panel. The oval shaped tunnel which was filled prior to painting could have been bored by this beetle larvae.

[Conservation Processes Research, Government of Canada, 1977]

Beech (Fagus sp. - Hetre - Fr.)

Oak (Quercus sp.) [recent addition]

Pine (Pinus sp. of Cembra and Strobus group) [addition]

A cross cut beech panel 378 mm x 235 mm, 4 mm in thickness at bevelled edge and an average of 7 mm within the upper rectangle of the bevel. The measurement 378 mm x 235 mm includes an oak strip 12 mm in depth which is attached along the upper edge. Analysis of the structure of the wood suggests that this strip is a later addition. [...]

A red wax seal approx. 18 mm x 15 mm is attached to the reverse of the panel 110 mm from the upper edges 95 mm from the left side (c.f. CT CCI 2,001,620-21/22).

[Kate Woodgate-Jones, Conservator, Fine Art & Polychromes Division, Canadian Conservation Institute, 1978]

'Analysis of 'Filler' - John of Saxony panel by Lucas Cranach': The sample of 'filler' from a worn hole on rear of panel, 235 mm from bottom and 101 mm from right hand side (rear) was analysed by x-ray diffractometry and x-ray fluorescence spectrometry.; This analysis indicated that the sample is a mixture of lead carbonate (PbCO3), calcium carbonate (CaCO3), and brown ochre (iron oxide).

[Analytical Research Services, Conservation Research Services, Government of Canada, 1977]

Woods of Panel Painting and Frame; 2,001,602; Portrait of John 1st of Saxony; Lucas Cranach the elder circa 1520:

1. Sample from main panel upper edge.; The wood is Beech (Fagus sp. - Hetre - Fr.) a hardwood. The reference (J. Marette) shows this to be one of the preferred wood of Lucas Cranach. The basic construction described in this reference is similar to the above panel.; The radiographs show the grain which indicates that the panel is true radial cut and thus has not warped. Also the radiographs show 3 dense regions in wood worm tunnels. Two of these dense regions show the details of the heavy hood like thorax of the Anobiid beetle adult which died before flight. The third region shows some indication of segmented larvae which is also dead; The microscopic examination of the wood shows it to be heartwood with extractive inclusions in the ray parenchyma and encrusted pits. The only indication of deterioration is the cracking from the lumne into S1 layer of cell walls of xylem fibers (as seen in transverse section). This indicates dehydration and loss of cellulose molecule bound water.

2. Sample taken from lower left edge of added strip (top); The wood is Oak (Quercus sp.) which is a hardwood. It is in excellent condition and shows no signs of deterioration due to dehydration thus is a recent addition.

3. Sample from frame added piece (reverse) left lower corner; The wood is Pine (Pinus sp. of Cembra and Strobus group). It is not the common pine species of the district of Cranach which is Pinus sylvestris. It is impossible for me to distinguish between Pinus cembra (European) and Pinus strobus (Canadian) but because it is not P. sylvestris it looks like an addition.; Microscopic examination of the wood shows it to be badly dehydrated. The thin walls of the spring xylem tracheids collapse easily on pressure and the surface of the wood show low abrasive resistance, all indications of loss of bound water, thus it is probably not a recent addition.

4. Sample from frame lower edge left corner and top right corner (reverse); The wood is the hardwood Aspen (Populus sp.).; The microscopic examination of the wood shows striations in the cell wall of the fiber cells which indicates tension wood of branch pieces. This wood is extremely sensitive to dehydration and fiber separation. The surface shows low resistance to abrasion which indicates loss of bound water. Slight knocking may dislodge the plaster surface from the wood because of the ease of fiber separation.

[Conservation Processes Research, Government of Canada, 1977]

CCI Studio Examination and Treatment Record, CCI No. 2,001,620:

Identifying Marks: Labels attached to frame: (1) Typewritten, screwed to frame, screw & washer: "Cranach, Lucas, The Elder/Germany, 1472-1533/Portrait of John I of Saxony/Anonymous Loan/LG-53-6; (2) Handwritten label, luggage type tacked to frame, 4 tin tacks: "Rogers & Co./ re Arcade/14 Gallery"; (3) Handwritten, on card, screwed and tacked to frame: "Box 3 - No. 2/G-73-61/Picture No. 3";

Labels attached to reverse of panel: (1) Typewritten, attached with double sided tape: "Lucas Cranach/the elder, German/1472-1553/Portrait of John I/of Saxony/Oil on Panel/Donated by Lord and Lady/Gort. G-73-61"; (2) Handwritten glued to frame: Portrait of John [illegible] of Saxony friend and contemporary of Marten Luther/by Holbein; (3) Handwritten glued to frame: "Put this on the east/south corner/Billiard room/east wall";

Condition: A cross cut beech panel 378 mm x 235 mm, 4 mm in thickness at bevelled edge and an average of 7 mm within the upper rectangle of the bevel. The measurement 378 mm x 235 mm includes an oak strip 12 mm in depth which is attached along the upper edge. Analysis of the structure of the wood suggests that this strip is a later addition as there are no signs of deterioration due to dehydration (copy of analysis report attached, memo Feb. 23rd, 1977/Mary-Lou Florian).; The attack of wood boring insects has disseminated the panel and it no longer provides an adequate support for the ground and paint layers. At the medial point of the disintegrating upper edge, the indentation of a nail can be seen. (Negative No. CT/CCI 2,001,620 & Slide No. 23/24). The nature of this indentation and the way in which the wood fibres have collapsed is an indication that the lower stratas are no longer solid.; There are 535 flight holes to be seen on the reverse of the panel and examination of the radiographs show an extensive system of wood boring insect channels in the support. There is every reason to suppose that many of these channels lie directly on the gesso layer which would imply that in these areas the ground and paint layers are no longer supported. This could also account for the small lateral cracks with cupping edges which can be seen in distributed areas throughout the painted surface and the particularly disturbing cleavage of the paint layer in an area which traverses the sitter's upper nose through the left eye (c.f. Fig.1).; The breaking up of the support can be seen in areas on the reverse of the panel in an area encompassed within the radius of a damage 0.05 mm and 0.05 mm taken from a centre point to be seen 55 mm from the upper edge and 95 mm from the left edge. There is a crack which can be seen originating in the damage and progressing vertically 25 mm towards the upper edge and 10 mm towards the lower edge. The adjoining areas being noticeably spongey and insecure (c.f. CT/CCI 2,001,620 - 19/20).; A coating of black oil colour has been applied to the back of the panel. This coat can be seen in the insect holes which implies that it stems from a much later date than the artist's own time. Both sides and lower edge of the panel are covered with this material; the upper edge shows as raw wood. It is reasonable to suppose that this oil coat was applied at the same time as the oak strip was added to lengthen the panel.; The oak fillet was, at one time, attached to the upper edge of the panel with animal glue which is now brittle and frachining. The strip has been fairly recently reglued with a rubber cement adhesive but because of the disintegration of the edge to which it has been applied, the strip has, for the most part, become detached once again; The panel has been recently replaced in the frame which is apparent from the recent use of nails and wooden blocks. Three nails hold the panel in position at each side and the lower edge, 2 nails secure the upper edge.; A red wax seal approx. 18 mm x 15 mm is attached to the reverse of the panel 110 mm from the upper edges 95 mm from the left side. (c.f. CT CCI 2,001,620-21/22); The lower section of the panel has been covered by a piece of paper bearing an inscription. (N.B. Translation from German to be attached to the report).; This stretches the full width of the panel. The upper edge of the inscribed paper lying 140 mm from the lower edge of the painting. The piece was possibly folded before being applied as indicated by the central split. The bridging fibres across the broken fold clearly imply that what now appears as two separate pieces of paper, were originally one. At the base of this split a section of the paper, 150 mm in length and 6 mm wide, is missing. A white gesso-like substance in this damage has been overpainted with a black granular pigment and there are traces of japanese tissue paper and cotton fibres in this damage. The adjoining area is lifting and there seems to be no support for the ground and paint layers. A second split 45 mm in length can be seen 5 mm to the left of and running parallel to, the central split and the area between these two splits is slightly raised. A thick varnish, possibly shellac, has been applied over the paper. This has oxidised to a yellow/brown. The paper is lifting in several places. The radiographs indicate extensive wood boring insect damage under these bumps and it is highly probable that there is a lack of support for the paper in these areas. (Neg. No. 18 and Slide Nos. CT/CCI 2,001,620-9) There are small losses to the paper throughout the lower section, all are covered with the discoloured varnish layer and many have also been painted (c.f. CT/CCI 2,001,620-17).

The painted surface: There are two flight holes to be seen in the painted surface: (a) 11 mm from left edge 147 mm from lower edge. (b) 195 mm from left edge 198 mm from lower edge.; The paint layer has collapsed into flight hole (a) and the immediate area has been retouched.; There are five areas where the panel has been knocked and the paint layer abraded: (1) 13 mm from left edge, 147 mm from upper edge, a circular damage 3 mm in diameter.; (2) 80 mm from left edge, 15 mm from upper edge, an area in which there are 4 small abrasions.; (3) 86 mm from left side, 219 mm from upper edge, a damage the size of a pin head.; (4) 175 mm from left edge, 145 mm from upper edge a circular indentation 3 mm in diameter.; (5) 203 mm from left edge 193 mm from upper edge, an indentation the size of a pin head.; The continual movement of the support against the rigid nails securing the panel into the frame together with attack by wood boring insects have resulted in almost complete disintegration of the upper edge. The stress in the panel transmits itself to the surrounding areas. This is evident from the number of vertical splits which originate along the upper edge on either side of the central damage. (c.f. Slide Nos. CT CCI 2,001,620-10-13 inclus.).; These splits are enumerated from left to right: (i) 15 mm in length 8 mm from left edge. (ii) 15 mm in length 28 mm from left edge. (iii) 25 mm in length 45 mm from left edge. (iv) 43 mm in length 50 mm from left edge. (v) 16 mm in length 50 mm from left edge. (vi) 58 mm in length 124 mm from left edge. (vi) 14 mm in length 124 mm from left edge. (vii) 14 mm in length 133 mm from left edge. (viii) 28 mm in length 138 mm from left edge. (ix) 25 mm in length 138 mm from left edge. (x) 17 mm in length 142 mm from left edge. (xi) 69 mm in length 144 mm from left edge (this leads into the damage across the bridge of the sitter's nose and into the left eye. (c.f. Fig. 1).; Losses of paint and ground are evident along the upper edge of the original panel.; A piece of paper 19 mm x 194 mm bearing the sitter's name is attached to the upper right corner of the original panel. The lower left corner of this paper is angled to follow the line of the hat. It is in comparable condition to the paper in the lower section of the panel.; The paint layer is thin and abraded in distributed areas. These are illustrated in Fig. 2, corresponding to areas of overpaint. These are particularly disturbing in the facial areas as the overpaints have darkened considerably. Many of the retouchings cover longitudinal splits in the painted surface.; A large area of overpaint is seen in the sitter's lower right cheek 85 mm from the left edge, 130 mm from the upper edge. c.f. CT/CCI 2,001,620-179-180. Linear retouchings are scattered throughout the background and are noticeable in the coat, hair and hat. (c.f. Fig. 2).; The varnish layer is oxidized yellow/orange. It is fracturing, this is especially noticeable in an area of the hat just above the right temple (c.f. Fig. 2). Accumulations of surface dirt can be seen:; (a) in the central split of the paper bearing the inscription, (b) in places where there is a deficiency in the surface layer, (c) around the edges of the panel.; The discoloured edge of the paper in the upper right corner would suggest that this had been under the rebate of a frame. Small foreign bodies are embedded throughout the varnish layer. Traces of black pigment on the surface of the painting are clearly the same colour as was used to darken the visible edges of the reinforcing blocks which at one time held the panel into the frame. Flecks of gold can be seen on the varnish layer adjoining the edges of the frame. [CONTINUED IN March 1, 1978 TREATMENT]

[Kate Woodgate-Jones, Conservator, Fine Art & Polychromes Division, Canadian Conservation Institute, 1978]

CCI Examination and Treatment Proposal, CCI No. 2,001,620

Condition: A cross-cut beech panel disseminated through the attack of wood boring insects.; An oak strip 12 mm in depth which was once attached along the upper edge of the original panel to extend the painting is now loose as the edge to which it was glued and reglued is disintegrating. Examination of the radiographs reveal an extensive system of channels in the support and there is every reason to suppose that much of this damage lies directly below the gesso ground. This would imply that in many places the ground and paint layers are no longer adequately supported. It is probable that the small lateral cracks with cupping edges which can be seen in the paint layer in the facial area, in the region of the beard, and an area which traverses the sitter's upper nose and through his left eye, are also a result of the dessication of the panel and a lack of cohesion between ground, paint layer and wood support. The paper bearing the inscription in the lower section of the panel can also be seen to be separating from the support in several places.; The paint layer is thin and shows signs of abrasion. Many of these areas have been retouched and the overpaints are noticeably discoloured.; The varnish layer is disturbingly oxidized.; Proposed Treatment: The transfer of ground and paint layers to an alternative support and the re-attachment of the oak strip. The stopping and retouching of all deficiencies, A suitable varnish to be applied.

[Kate Woodgate-Jones, Conservator, Fine Arts, Canadian Conservation Institute,1976]

Wd: PL (14.5 cm t./ 1.2 cm l.); PL (0.2 cm b./ 12.0 cm l.); PL (15.0 cm b./ 8.4 cm l.); S (19.2 cm t./ 3.1 cm r.); D (10.0 cm b./ 8.9 cm l.); G & PL (14.2 cm t./ 6.0 cm r.); 1.2 cm fragment of panel missing (12.5 cm t./ on r. edge); Diagram in collection file.

[Nancy Mato, Winnipeg Art Gallery, 1976]

Wd: separate piece of panelling running across top which is part of painting 1.0 cm high.; piece missing (1.0 t./ 13.0 cm l.); PL (15.0 b./ 8.5 cm l.) also see photograph in file; 2.5 cm vert bulge and CR. (on b. edge/6.3 cm r.); 0.5 cm sl. bulge and CR. (0.5 b./2.2 cm r.); bulge (on b. edge/13.5 cm l.); bulge (on b. edge/15.0 cm l.); area on line between writing towards b. is bulging, but fairly stable (possibly repaired at one time); Old CR. over entire surface; Fd: a lot of gilt worn off inner and outer frame.

[Jean W. Whyte, Winnipeg Art Gallery, 1976]

The aim of the treatment was to upgrade the frame with a plexiglass glazing to protect the piece against U.V. light, dust and handling.; The backing of masonite was removed from the rear of the frame. Inside the frame, a small inner frame of wood was found. The purpose of this frame was to reduce the rabbet dimensions and hold the panel in place. This was removed and a layer of Acrylite OP-2 plexiglass was placed under this. Then the panel and the inner frame were replaced.; A layer of ethafoam was adhered to the masonite backing and this was screwed to the rear of the frame. This backing holds the panel, the inner frame and the plexiglass in place and must not be removed.

[Winnipeg Art Gallery, revised 2013]

CCI Studio Examination and Treatment Record:

TREATMENT: *Asterisks refer to list of materials & supplies attached.; (1) The disintegrating upper edge of the original panel was consolidated with a weak solution of rabbitskin glue before removal from the frame. The oak fillet was detached from the upper edge. (2) A weak solution of size was introduced at the bottom edge of the panel to secure a loose area (c.f. CT/CCI 2,001,620-25/26). (3) Safety margin tests were made in order to establish the solvency of the varnish and, the resistance of the original paint. (4) Two layers of MS2A *(a) were applied as an insulation before the attachment of the facing papers. The first layer was brushed, the second sprayed to the face of the panel. (5) Facing Layers: *(i) Eltoline tissue *(b) applied with MS2A resin. (ii) Eltoline tissue applied with a weak solution of rabbitskin glue. (iii) Eltoline applied with wheat starch. *(iv) Slightly heavier grade Japanese tissue (Shoji #208 *) was applied with wheat starch. (v) Japanese tissue grade #208 Shoji applied with wheat starch. (vi) Japanese tissue grade #103 Takenaga *(d) applied with wheat starch. (vii) Muslin applied with weak solution of rabbitskin glue. (viii) Muslin applied with weak solution rabbitskin glue. The first and second facings were continued round the sides of the panel and attached to the reverse approx. 5 mm depth to ensure against undue stress to the edges of the painted surface during transfer. Each layer in turn was weighted and allowed to dry before the next layer was applied (c.f. CT/CCI 2,001,620-27-32 inclus.); A wooden trough was constructed 25 mm dimensionally larger than the panel and lined with mylar. Plaster of Paris was poured into the trough to a depth of 20 mm and agitated to form an even surface. The panel, which had been wrapped in mylar carefully stretched over the face side and taped rightly on the back to obviate any creases was then gently pressed face down into the liquid plaster. (c.f. CT/CCI 2,001,620-33-38 incls.); When the cast was completely hard the sides were removed from the trough and it was placed onto a backing board. Four mitred pieces of wood forming a frame to lock the cast firmly in position were then screwed to the backing board. These were the same thickness as the cast. The objective was to form a rigid support for the panel while the back was cut away. The backing board was clamped securely to the bench (c.f. CT 2,001,620-39).; A hardwood bridge was devised which spanned the panel and a stop on the backsaw allowed cutting only to a depth of 1 mm, thus ensuring that the operation of removing the support was under absolute control all the time. (*c.f. CT 2,001,620-40-44 incls. and Figs. 3, 4 & 5).; On either side of the framing pieces 3 fillets of wood 1.5 mm in thickness, 25 mm in width, the length of the panel, were pinned to the backing board. These fillets provided a means by which the saw could be lowered after each complete series of transverse saw cuts.; The first series of controlled saw cuts were made with all three fillets in position. The cuts were made approx. 10 mm apart. The wood was then removed by chiselling with the grain to the depth of each saw cut in turn. As each layer of wood was cut away from the panel one of the fillets was removed from either side and the bridge in consequence was lowered by the amount equal to the thickness of the fillet. This process was repeated until the support was reduced to a thickness of 1 mm.; The whole process from the fabrication of the cast to the point at which the panel was ready for its new support is illustrated with those slides already enumerated and forward to CT CCI 2,001,620-111 incls. Of these, CT CCI: 2,001,620-48-55 inclus. show the isolation and undercutting of the seal which was to be preserved and later to be inset in the appropriate place on the new support. The seal is shown removed in CT CCI: 2,001,620-56. During the process of the removal of the panel many dead wood boring insects and fragments of insects were found - the positions of which were recorded as fully as possible both in area and depth. A graph and list of these positions is attached under Sheet 1 (insects). Slide No. CT CCI:2,001,620-84 shows an overlay charting the exact positions (area) of the various insects found. (attach sheet 1 (Insects)); There are a number of colour transparencies taken during the removal of the original support - these are enumerated and explained - in the Photographic record of colour slides accompanying the report Nos. CT CCI: 2,001,620-57-111 incls.

Application of New Support

After very careful deliberation it was decided not to use a strictly rigid support for the painting and it was felt that something slightly more elastic and easy to remove should be considered. Accordingly 1/32" balsa wood, 2.5" wide impregnated with wax resin mixture was chosen as being the most acceptable material. The method of impregnation is shown in 35 mm colour transparency CT CCI: 2,001,620-112.; The series of transparencies CT CCI: 2,001,620-113-131 incls. show the manner in which the new support was built up. The first layer of balsa applied was vertical, the second horizontal, the third left to right diagonal, the fourth right to left diagonal. CT CCI: 2,001,620-122, shows the thin sheet of masonite with which the balsa wood impregnated strips were finally covered. To the back of this masonite sheet a final layer of balsa into which the seal had been sunk, in the same position it had occupied in the original support, was attached with P.V.A. Jade *(e) (c.f. CT CCI: 2,001,620-125-131 incls.).

Cleaning

Because of the generally poor condition of the painted surface it was decided not to completely remove the varnish layer and all overpainting. To do this would have undoubtedly revealed a 'ghost' of a painting only. There was sufficient evidence from a purely visual examination that the painting had been overcleaned in the past and heavily retouched on several different occasions. One small point of interest were the 2 or 3 beetle flight holes piercing the paint layer which at some stage had been filled with an extremely hard putty and retouched. (c.f. analysis report attached May 27, 1977 Neil Adair and slide Nos. CT CCI: 2,001,620-106-107).; The extent to which the varnish and overpaints were removed is illustrated by the photograph taken in UV light Neg. No. B/W2,001,620-154. The discolouration was most disturbing in the facial area. Elsewhere, although extensively overpainted especially in the areas of the fur coat and the hat, the additions were not as disturbing and were left as found other than the lightest surface cleaning.; The heavy repaint on the left cheek (examiner's viewpoint) was partially removed (c.f. CT CCI: 2,001,620 [sic]) as were the overpaints following cracquelaure in the facial area and those in the area of the shirt. These were softened with a mixture of isopropyl alcohol, acetone and stoddards solvent and carefully removed with a scalpel under low power magnification.; Perhaps the best way in which to explain the manner and extent of the work carried out would by comparison on before, and after detailed photographs and in this respect reference is made to the attached list of transparencies Nos. CT CCI: 2,001,620-134 to 211 inclusive.; Small deficiencies in the painted surface were filled with chalk and moviol *(f) putty tinted with watercolour and isolated with Synocryl 9122 x *(g). The varnish layer applied before retouching the panel was MS2A diluted in Stoddards solvent.

Retouching

There was no major reconstruction of the painted surface and no opaque overpainting of the original surface. Retouching was confined only to the obvious damages where the surface had been abraded and tonal variences disturbed. There was light glazing where necessary. Retouchings were executed in watercolour and glazings in MS2A resin mixed with dry pigments. A final varnish of MS2A plus 4% bleached beeswax was applied.; After a month the panel was polished with a microcrystalline wax paste *(h) (soluble in Shellsol 715).

Sheet 1 (Insects) [attachment]

Bugs with print of radiograph - man facing to the right; (1) 178 from top 67 from right; (2) (wasp) 100 from top 105 from right; (3) 10 from top 105 from right; (4) 40 from bottom 27 from left; (5) 215 from bottom 31 from right; (6) 121 from bottom 31 from right; (7) 340 from bottom 157 from right; (8) 90 from bottom 45 from left; (9) 55 from bottom 38 from left; (10) 140 from bottom 113 from right; (11) 247 from bottom 113 from right; (11) 247 from bottom 107 from right; (12) 277 from bottom 26 from left; (13) 323 from bottom 14 from left; (14) 98 from bottom 38/39 from right; (15) 218 from bottom 23 from right; (16) 193 from bottom 20 from right; (17) 170 from bottom 52 from right; (18) 137 from bottom 59 from right; (19) 137 from bottom 70 from right; (20) 138 from bottom 60 from right; (21) 133 from bottom 85 from right; (22) embedded in new gesso 184 from bottom 3 mm from right; (23) 33 from bottom 125 from right.

Materials and Supplies Used [attachment]

(a) MS2A Polycyclohexanone (OL) resin, (no longer manufactured) - soluble in white spirit (shell household cleaner) or Stoddards solvent.; (b) Eltoline tissue. J.R. Compton Bros. England; (c) Japanese tissue paper Shoki #208. Aiko; (d) Japanese tissue paper Takenaga #103. Aiko; (e) Jade 403. Polyvinyl acetate water dispersed resin. (f) Moviol 04-M1 Polyvinyl Alcohol. Hoescht Ltd.; (g) Synocryl 9122 x (Bedacryl 122x) Methacrylate ICI; (h) Renaissance microcrystalline wax polish (soluble in Shellsol 715). Picreator Enterprises, England.

[Kate Woodgate-Jones, Conservator, Fine Art & Polychromes Division, Canadian Conservation Institute, March 1978]

Restored. [No treatment records on file other than materials.]

[Winnipeg Art Gallery, revised 2013]