Portrait of a clean-shaven man with a fur hat and fur collar [Recto]

- wooden panel; hardwood, presumably walnut

- tangential cut

- there are almost no knots present, two knot holes were identified

- the panel is a single plank, the format was not altered

- the panel was thinned after the parchment was removed from the reverse, open woodworm channels confirmed this

- a loss in the support at the top right was reinforced with a plywood insert

- a white ground; assertions about material and the method of application cannot be made as it is not accessible; presumably a glue bound chalk ground

- the panel was fixed in a rebate frame or mounted in some other way when the ground was applied: a barbe is present along the edge, in addition there is a border of bare wood running around the panel (varying in width between 0.6-0.8 cm)

- ground material containing bubbles is located along the edge on the bare wood; the ground was probably squeezed through the gap between the panel and the frame when it was applied. - the remnants of ground and the bare wood were painted dark at a later stage - perhaps when the painting was reframed

- an imprimatura is not visible

- an underdrawing is visible, the composition of the portrait was executed on the white ground with a brush and a grey or black medium; the brushstrokes are in part lighter at the end, and in part a slight swelling of the line can be observed.

- presumably bound pigments, the paint is finely ground, pigment particles are only visible in some darker areas

- the paint application os predominantly opaque; due to an increased transparency caused by ageing the light ground plays a greater role in the optical effect in the flesh paint

- the colour of the portrait moves from light, almost translucent flesh tones and white ochre and brown coloured strokes to almost bold application of black in the robe and the background; the fur was executed over a light base tone with brown strokes, employing different ratios of binding medium and pigments to vary the lightness

- the application is generally delicate and smooth, in isolated areas where there are highlights or where the paint overlaps some faint bruahstrokes and impasto are visible.

- sequence of application: after applying an isolating layer over underdrawing on the ground the face and the hands were painted, i appropriately colour areas of paint werelaid in for the hat and the fur-trimming. Subsequently the shirt, robe and hair were worked up and finally the texture of the fur was worked up with single, parallel and slightly crossed brushstrokes and in some areas highlights were applied.

- width of the brushes: in the area of the flesh paint brushstrokes are not visible, the surface was created with fine, blended strokes, the hair and fur were painted with a fine brush; a broad application of paint was employed for the dark areas of the robe and the background, in part with wide brushstrokes and bold. A grey coloured pattern lends the robe a slight texture, folds are indicated with soft, broad brushstrokes; it would appear that the areas of the flesh paint and the fur hat and trimmings received the most attention.

The frame is new, each part of the painting has been mounted separately in an oak wood frame. The frame may be from the 1960s, when the painted parchment was removed from the reverse of the panel.

Both frames were joined together about a year ago and are now displayed mounted on a pedestal to show the intended double-sided decoration of the panel.

[Anke Preußer, Paintings Conservator, Kunsthalle Bremen, November 2012]

DESCRIPTION

Tools/Materials:

- fluid, black medium

Type/Ductus:

- delicate, fine traced lines

Function:

- binding for the final painted version; lines delineate contours and the facial features; no representation of volume

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- not possible

Comments:

- transferred from a preparatory drawing or reinforced traced lines?

[Smith, Sandner, Heydenreich, cda 2012]

Summary of the german version:

• incorrect framing subjected panel to undue stress

• inside of frame, reverse and front of panel very dirty

• the warp has increase

Paint layers and varnish:

• under the stereomicroscope numerous old and new paint losses are visible along the craquelée

• top, right corner (reconstructed) cupping along the join

• partial blistering

• discoloured retouches

• varnish, partial blooming

Comments:

• both the panel and the paint layers react very sensitively to any change in climatic conditions

• most of the damages listed above are the result of changing climatic conditions but were also caused by the treatment in 1962: removal of the parchment from the reverse, thinning the panel, use of solvents and fill material and incorrect framing.

• wood worm damage adds to the instability of the panel

• few paint losses, excepting the large fill beneath the left eyebrow of the sitter

• new frame necessary with a bed (balsa wood) to support the panel

[Bettina Landgrebe, condition report for loan request: Städelsche Kunstinstitute, Frankfurt, 7.2.2007, in the files in the Kunsthalle Bremen]

History of Restoration:

The painting originally belonged together with the allied coat-of-arms. During treatment by Lily Lange-Bellstedt in 1962 the painting on parchment was removed from the panel.

Afterwards the reverse was presumably sanded down (open worm channels). The panel was impregnated with a mixture of ethanol, ethylene glycol and shellac, presumably to straighten it. A missing corner on the top right was reconstructed using plywood. Probably glue/chalk fills, retouches in water-colour and tempera (?), mastix varnish.

In 1975 the panel was treated again by Christiane Rohland. A slight convex warp was observed in the panel, which increased after the two battens attached to the frame were removed. The panel had evidently been subjected to undue stress by this framing system.

Consolidation of tenting at the bottom right with bees wax, varnish application with dammar to matt retouches, some synthetic resin retouches (AW2).

In 1979 the panel was again removed from its frame by Mrs Rohland to record a comparative curve. The warp had increased.

To reframe the panel pieces of cork were nailed into the rebate. Only the central section of the top and bottom of the rebate was padded. The backboard consisted of a press board, the rough side of which had been painted black and consituted the reverse of the frame.

[Bettina Landgrebe, condition report for loan request, Städelsche Kunstinstitute, Frankfurt, 7.2.2007, in the files of the Kunsthalle Bremen]

May 1975

Recto: slight convex warp. Tenting in the paint layers at the bottom, right edge. Small split bottom edge, left with lose retouches. Matt retouches. Scratch in the varnish in the face. slight blooming in varnish.

Verso: Two planks. Edges not bevelled. About 4 mm thick. Old wood worm damage in the right corners, top and bottom.

[no author, conservation report in the files of the Kunsthalle Bremen, 1975]

• two wooden battens, which connected the allied coat-of-arms to the panel and were attached to the frame were removed. The panel was under tension and this caused the warp to increase. (see curve from 28.5.1975).

• the tenting in the paint layers on the right and flaking along the split were consolidated with yellowish bees wax. The matt retouches were varnished with dammar. Retouching with synthetic resin (AW2) was carried out in areas of loss along the split and in small losses in the area of tenting, where it had not already been carried out in a previous treatment. The warp was not treated.

[no author, conservation report in the files of the Kunsthalle Bremen, 1975]

April - May 1962

• the panel is very warped

• the painted parchment attached to the reverse has yellowed

• losses, dents, scratches

• the upper right corner has broken off (see photograph)

April 1962

Reverse [parchment]:

• dark brown, must be removed from the panel; as a result numerous tears and losses, blisters

[no author, conservation report in the files of the Kunsthalle Bremen, 1962]

• the parchment was removed from the reverse of the panel by impregnating it over a long period with a mixture of ethenol, ethylene glycol and shellac; varnish removal; losses filled and retouched with water-colours and tempera; the corner was reconstructed using plywood; varnished with mastix

Reverse [parchment]:

• laminated onto a hardboard employing a wax-colophonium adhesive; losses filled and retouched with water-colour and tempera; varnished with mastix, thin wax coating

[no author, conservation report in the files of the Kunsthalle Bremen, 1962]