Friedrich III the Wise, Elector of Saxony

- an underdrawing is not visible

[Smith, Sandner, Heydenreich, cda 2012]

- beech wood panel

- dimension bottom 14.6 cm, centre 14.7 cm, top 14.7 cm

- all four edges bevelled: top left: 2 cm, top right: 1.5 cm, right edge: 2.2 cm, left edge: 2.1 cm, bottom edge, centre: 3.3 cm

- all sawn edges are irregularly bevelled

- thin ground

- the underdrawing in red is visible beneath the sitter's hat

- there are incised lines 4-5 mm from the edge of the painting

- printed paper labels are attached to the panel on the top right corner and the lower third of the painting

- the frame is not original

Restoration Treatment

The panel consists of a single beechwood plank (20.7 x 14.3 cm). 37 annual rings were measured, that match the beech wood chronology between the years 1530 and 1494. The most recent annual ring dated is from the year 1530. Usually with beech wood the entire transverse section was used and only the bark removed, therefore the earliest felling date is 1530. Considering a two year seasoning period the painting could have been created no earlier than 1532.

[Exhib. Cat. Gotha 1994, 28]

Condition 1995:

The dark yellow varnish and dirt covered the printed paper labels on the bottom half of the painting (holes were also visible in the paper). The original bluish green of the background was altered in colour by the aged varnish layers. In the flesh paint there were numerous retouchs which had changed colour.

Condition 1999:

Many of the vertical splits in the panel are visible in the ground and the paint layers. There are multiple losses in the paint layers next to the hairline cracks, which are very obvious and appear dark because they were not toned in. In a previous restoration campaigns the resin varnish was thinned unevenly and now appears cloudy: particularly left above the signature and right below the paper label above a large area of retouching.

In the top left quarter of the painting there is a round scratch to the right of the fur collar, which is overlapped by a dot and dash-like damage. The surface is also damaged in the area of the fur. There is an old scratch on the right side of the sitter's beard.

The printed paper labels on the top right and on the lower third of the painting have detached themselves from the support at the top left and exhibit small damages.

There is a large irregular piece of paper missing (2.2 cm long and 1.2 cm wide) at the bottom left.

Treatment Report

1.1

The darkened varnish was removed from the entire painting (excluding the areas of text) with acetone. This procedure was monitored under the stereomicroscope. Many tiny losses were revealed, particularly along the craquelée in the flesh paint, in the fur and the background. Some areas where the paint had yellowed were left.

1.2

Mechanical removal of the varnish layers over the areas of text was monitored under the stereomicroscope. Removal from the paper labels with printed text were particularly difficult and time consuming, taking longer than anticipated.

The areas of loss were cleaned; an isolating layer was applied

Consolidation with sturgeon glue

The losses were filled and the missing paper in the lower left corner was replaced with old paper, at a later stage the upper right corner was treated in the same manner

The losses were inpainted with water colour. After near completion of the inpainting the splits along the craquellée appeared rather disturbing. These were filled with a chalk mixture and leveled. The damaged areas on the paper labels were reconstructed and toned in.

A Dammar varnish was applied over both the paint surface and the paper labels

A new frame was made by Herr Rothe, the furniture restorer in the castle

20.9 x 14.4 x 0.5 cm

Frau Dr. Lübbecke, Munich conducted the art historical research in association with the restoration.