Portrait of a Lady

-Tilia genus commonly called basswood or lime

-The wooden support is made up of 3 vertical boards joined together. In addition the original size was extended using oak strips at the left, right, and top (nails), which were painted black to match the background.

-In some areas the original was untouched for example some of the jewellery, the hat and decorations. In these areas minute samples were taken and analysed by A.R.S. primarily to establish positively that lead tin yellow was used by the artist.

[Peter Vogel, CCI, examination report, 1979]

CCI Studio Examination and Treatment Record: CCI #2,001,621

Technical History: Arrival at CCI headquarters along with four 16th century panels formerly owned by Lord Gord [sic].; Sole technical reference is a brief condition form (W.A.G. registrar) which was sent upon request and a humidity chart depicting W.A.G. environmental conditions. A more complete record tracing back its recent historical past is not available. Written on back: (L.G. 53-4)

Description of subject: See before treatment photograph. Compare "Portrait of a Lady" (61 x 42 cm) in the collection of Thyssen, Castle Rohoncz. Cranachs, the Elder and Younger have both used this model, Judas Lucretia (for St. Barbara, Magdelene, Salome, Jael Judith etc.). Also anonymous profane portraiture.

Condition Report:

Auxiliary Support: The 0.45 cm panel has been cradled with 6 vertical and 7 horizontal cradle-members glued to the back. One vertical cradle-member blocking at one time the centre joint has been removed. See reverse before treatment photo.

Support: The wood panel is identified as belonging to the Tilia genus commonly called basswood or lime. See ARS Report #1628. The wooden support is made up of 3 vertical boards joined together. In addition the original size was extended using oak strips at the left, right, and top (nails), which were painted black to match the background.; The wood along part of the right bottom edge as well as along the left top has been exposed.; The left strip has become loose and has developed separation cracks running along the joint.; The entire support had been kept flat by force (cradle) resulting in checks and cracks of the individual boards. It appears that prior to cradling the panel was thinned down. The cradles were then stained.

Ground: Appears to be secure and solidly adhering to the wooden support. No separation due to insufficient adhesion noticeable except along edges as a result of possible mechanical wear from frame. Raking light and microscopic examinations do not show topographical unevenness due to filling. Small filling, though along cracks and checks, partially fallen out. Fillings are slightly resistant to blot water testing.

Paint Layer: Original media characteristic of oil tempera. Extensive overpainting can be seen in the during treatment U.V. photos. The complete background had been overpainted in a heavy but consistent manner, even and matt in texture. Microscopic examination of the face revealed large overpainted areas, specifically the proper left face and ears as well as the forehead. Confirmed by U.V.; Little craters (such as they occur during heat application) are covering large areas as well as the shoulder.; In some areas the original was untouched for example some of the jewellery, the hat and decorations. In these areas minute samples were taken and analysed by A.R.S. primarily to establish positively that lead tin yellow was used by the artist.; However the main focus of interest is centered around a large oval-shaped repair in the region of the proper right arm. (see diagram and during treatment U.V.); At some stage this area has been completely reconstructed and overpainted to the extent that fingers have actually been painted over the original arm (see detail CT-6 during cleaning). Small paint losses have also occurred along vertical checks and joints and are partially filled and inpainted. Also the top and bottom edge and the area below her right shoulder have been inpainted (see during cleaning slide CT-5).

Varnish Layer: The varnish layer appeared opaque when viewed under. U.V.; When viewed in normal light the varnish appeared thick and discoloured particularly on the face.; Microscopic examination of the surface coatings showed grime particles impurities and remnants of tissue imbedded in the varnish layers. As well there appeared a waxy layer overall, giving a matt surface.

Proposed Treatment: Treatment of this panel would include: (1) The removal of cradle members. (2) The realignment and joining of splits. (3) Cleaning of discoloured varnish and surface dirt. Partial removeal of overpaints. (4) Removal of samples for pigment analysis etc. (5) Additional examinations such as radiography, infrared and U.V. photography to establish the condition of the panel. (6) Filling and inpainting if necessary. (7) Application of protective coating. (8) Sealing of reverse of panel to reduce warping effect. (9) Installation of appropriate backing support. (10) Reframing.

[Peter Vogel, Chief, Fine Arts Division, Canadian Conservation Institute, Condition Report, 1979]

CCI Studio Examination and Treatment Record: CCI #2,001,621

Treatment Records:

(1) The cradle members were removed by first cutting through the vertical cradle members to release the horizontal members. Then the remainder of the vertical members were removed by means of controlled saw cuts and chiselling.

(2) The realignment of splits in the panel was carried out using a panel jig. The adhesive used joining and re-gluing of joints was casein. Casein glue was chosen because it has a prolonged setting up time and thus enables careful alignment. In addition once the casein has set up it remains elastic, yet strong. The elastic quality of an adhesive was necessary as this panel has a tendency to warp in response to changes in relative humidity.

(3) Cleaning of discoloured varnish and surface dirt. Cleaning tests were carried out along the upper left corner of the painting. (a) Removal of surface grime and imbedded dirt using sodium bicarbonate 10% emulsion with Shellsol 715. (b) Diacetone alcohol in Shellsol 2:1 removed tacky black oil paint. This was followed by an application of Shellsol to remove remaining overpaint. (c) The final solvent mixture consisted of: diacetone alchol: isopropyl alcohol: and shellsol in the proportions of 1:1:1. This seemed to be the most efficient and workable mixture for removing this overpaint. (d) The lower right corner (dress under arm) was cleaned basically with the same solvent mixture however its application had to be repeated several times to be effective. As a final cleaning mixture Isopropyl alcohol was replaced with Ethyl alcohol for this more resistant area. (e) Microscopic cleaning tests of proper left face: Discoloured varnish above ear was softened with diacetone alcohol first: 30 seconds - no reaction; 45 seconds - coating became slightly tacky; 60 seconds - tacky and discoloured varnish became soft, assisted by mechanical action. (f) Removal of overpaints cleaning tests using solvent misture: diacetone alcohol: Acetone 1:1. 30 seconds - no reaction visible; 60 seconds - overpaints softened; Subsequent removal with pure diacetone alcohol follwed by Shellsol application left a slightly discoloured older varnish behind. (g) Removal of final film layer using: 75% ethyl alcohol in Shellsol and using assisted with a sharp point scalpel for removal of encrustations from original paint film. This final stage of cleaning was carried out under magnification to prevent disturbing the original paint surface.; It was decided not to remove all inpaints. Generally overpaints were reduced and limited to the area of the damage. For example: the overpaint surround the large oval damage was removed but not the reconstructed arm within the damage. The fingers covering the original ornamentation on the proper left arm were removed.; The discoloured overpaints on the proper left fae and forehead were reduced and thinned mechanically under magnification to reduce their opacity.

(4) During examination and treatment of this panel minute paint samples were taken for analysis. Reports by A.R.S. have been included in this dossier.

(5) Additional examinations such as radiography, infrared and U.V. photography were also carried out during the examination and treatment of this panel.; These records have been included in the photographic documentation section of this dossier.

(6) Filling and Inpainting. Small fills were necessary in splits. The filler consisted of 7% Rabbit Skin Glue and Calcium Carbonate.; Inpainting was initially carried out using water colour media directly on the fills and exposed ground.; An isolating varnish layer was then brushed onto the panel prior to further inpainting. The isolating varnish used was 20% dammar in cyclosol plus 1% Irganox 565 W+/W+ of resin. Further inpainting was carried out using Winsor & Newton artists' oil colour after extracting excess oil on an absorbing palette.; After inpainting matt areas were touched up with Soluvar Gloss picture varnish.

(7) A protective surface coating was sprayed on consisting of: 20% Dammar resin in cyclosol with 1% Irganox 565 W+/W+ of resin and 3% bleached beeswax.

(8) Sealing the reverse of the panel using a Rabin's heat set method.; A mixture containing: AYAC 1:1 dissolved in toluene to 60% resin. To this 8% microwax 445 (multiwax) was added. (W+/W+ of resin).; The mixture was warmed and brushed onto the reverse of the panel. A sheet of mylar was then heat sealed onto the reverse as an added moisture barrier.

(9) Installation of backing support. A convex support was designed to adjust to the warping effect of the panel one expects on a seasonal cycle (see slide). The support was needed to hold the panel in the frame without restricting its warping behaviour.; A soft PVC foam was used to cushion the panel from reverse and as a protection from the rebate of the frame.

(10) Framing: Modification of the frame to accommodate both the panel and backing support system was necessary (see after treatment framed slide of reverse).; The panel was then crated and delivered by hand.

Put on protective backing; Repair frame [remarks in German in paper file]

[Winnipeg Art Gallery, revised 2013]