An ill-matched couple

- an underdrawing is not readily visible

[Smith, Sandner, Heydenreich, cda 2012]

- one vertical cross-cut beech wood plank, no damage, no wooden inserts

- the top and bottom edges are out of square with the sides

- Standard format „B“ according to: [Heydenreich 2007 A, 43]

- eight small notches on the reverse, which possibly served to fix the panel in a frame at some stage (original ?)

- the panel has been thinned from the reverse, originally it was partially covered with an application of tow

- white ground

- the barbe has been preserved on all four sides. It is between 3 and 9 mm from the edge indicating, that the ground was applied to the panel while it was in a frame; there are no incised lines visible

- the barbe and the bare wood have been covered with black paint

- no underdrawing is visible in the infrared reflectograph

- under the stereomicroscope a bright red colour is visible beneath the paint of the woman’s eye, and is possibly an indication that red chalk was employed as a drawing medium

Flesh paint:

The head of the old man was positioned with very little paint, containing lead (see x-radiograph), then modelled predominantly in brown to brownish black glazes and completed with a few pink highlights.

The girl’s head on the other hand has more of a relief-like appearance in the x-radiograph, indicating that it was created employing more lead white in numerous layers. The paint application is confident exhibiting both strokes and stippling. The lips were executed with vermillion and red lake, the eyes are described in black and white paint. Under the stereomicroscope single azurite pigments are visible in the flesh paint.

The shadow tones in the hair were applied flatly over the background. The hair appears to have been described with varying assurance. It is possible that the final very fine hairs were confidently applied by Cranach the Elder to a workshop production.

Green robe:

An initial black layer of paint (no incised lines are visible along the contours) was subsequently followed by an intense green layer. The folds were modelled in a lighter admixture, employing dark glazes to create the shadows (mixed with black?), suggesting that not only the black underpaint was exploited for the shadows. The slits of the sleeves are highlighted with white. There is a semi-transparent glaze on top of the opaque green paint.

Black robe:

The black robe was extensively modelled wet-in-wet. The linear pattern was applied to the wet paint (visible in the x-radiograph).

Neckband:

The decorative elements were described in yellow, black and brown paint over a reddish brown underpaint (optical appearance: red iron oxide). Subsequently the precious stones were painted with green and red glazes and blue pigmented paint (optical appearance: azurite)(the only blue detail in the painting).

Surface coatings:

- recent natural resin varnish, very thick application and relatively glossy

- new frame: profiled rebate frame

• 1994 (Restaurierungszentrum Düsseldorf, GM94.3525)

Condition report:

• the reverse of the panel has been smoothed with a serrated plane, oak wood blocks have been glued on to the reverse, which served as a guidance for two cross-battens (presumably 19th century)

• the paint layers are in very good condition

• very fine vertical cracquelure

• various small scratches (in the flesh paint of the girl and the green robe)

• fine layer of soot on the reverse of the panel as the result of fire damage

• glazing not aesthetically pleasing, no backboard

[Heydenreich, 28.12.1994]

1994 (Restaurierungszentrum Düsseldorf, GM94.3525)

• surface cleaning of the reverse with Wishab cleaning sponge

• the painted surface was cleaned with distilled water and cotton-wool

• glazed with Mirogard Protect Magic

• wooden bumper battens and a backboard were mounted on the reverse of the frame

[Heydenreich, 28.12.1994]