Portrait of a Woman

Very well preserved panel, canvas lined on the back which extends up the sides. Consequently there is a wax-resin mixture which has penetrated the edges and unfortunately this is the only place for sampling.

Sample site: Dark red shadow of skirt pleat, bottom edge

Analysis methods: GC-MS/FTIR

FTIR-microscopy: Thin red glaze over black. Very small, - flakes of transparent red, black and a very yellow ground. The thin red is a lake on alumina, oil bound but there does appear to be some protein present. The FSD trace (and 2nd derivative) show – amide bands at 1645 (1650; 1659) and 1542 (1559; 1542). Traces of chalk, no wax.

Are the blacks in Cranachs inorganic or organic? There are no phosphate bands, there are weak calcite type chalk bands, and much of the ill-resolved fingerprint region has weak derivatives. There is the possibility of some red lake being included as this is very difficult to see amongst the black. There does appear to be some protein – 3300; overtone at 3058; 1635; 1650; 1557; 1542. Also oil – CH stretches; C=O at 1704-1770. Some yellow/white paint in this sample gives a spectrum of gypsum with protein – is this ground?

NB. DP – 1320 cm-1 suggests presence of oxalate rather than protein [DP; August 2013]

GC-MS: The paint medium was identified as linseed oil [A/P 1.3; P/S 1.4; A/Sub 6.8]

Inorg2B: Red lake, possibly madder. ATR (not priority)

Ground not gypsum as stated in FTIR report.

CDA ID/Inventory No.: UK_NGL_291

Object No: FR172

Cross-section No.:

Brief description of paint: dark brownish-red shadow of dress

Sample location: bottom edge

Sample No.: 3

Methods: microscopy

Observations:

• Overpaint.

• Varnish.

• Red lake glaze

• Black paint layer.

• Chalk ground

CDA ID/Inventory No.: UK_NGL_291

Object No: FR172

Cross-section No.:

Brief description of paint: bright red highlight of dress

Sample location: bottom edge

Sample No.: 2b

Methods: microscopy

Observations:

- red lake glaze.

- bright red layer of vermilion

- black paint layer

- chalk ground

CDA ID/Inventory No.: UK_NGL_291

Object No: FR172

Cross-section No.:

Brief description of paint: bright red highlight of dress

Sample location: bottom edge

Sample No.: 2a

Methods: microscopy

Observations:

- Perhaps a red lake glaze.

- Bright red layer of vermilion.

- Black paint layer.

- Chalk ground

CDA ID/Inventory No.: UK_NGL_291

Object No: FR172

Cross-section No.:

Brief description of paint: black paint of background

Sample location: lower edge

Sample No.: 1

Methods: microscopy, EDX

Observations:

- black paint layer.

- chalk ground (confirmed by EDX).

Detail

Support:

• pine secondary panel removed because the second panel been laid across the grain; painted panel has bowed, but nevertheless appears to be in a good condition

Paint and ground:

• generally in good condition, one or two visible retouching; two in the face and possibly on the sitter's right hand

• vertical crack runs almost whole length of the picture, suggesting that the panel is composed of two boards

• there may be some retouching in the background, but unclear without cleaning

• two small losses visible in the background: bottom left corner and top left corner

Surface coating:

• varnish slightly yellowed, though varying in thickness because of previous partial cleaning.

Treatment proposed:

• remove the secondary panel and carry out treatment suitable to the painting's stability

• remove old varnish and retouching

• retouch where necessary and revarnish.

[Examination by A.M. Reeve, 6 Dec 1973]

• the panel is in a stable condition

Nature of treatment:

• remove later panel strengthen, clean restore and re-vanish

Detailed report:

The later pine panel addition which had been glued to the back of the original was removed and the panel flattened; this happened almost completely of its own accord as the addition was the cause of the warp.

As the panel was then only a bare quarter inch it was necessary to reinforce the back with hession and wax and the balsa wood and wax-cement, sealed with a wax-impregnated canvas.

Picture cleaned using Pro-Propyl Alcohol and white spirit 1-4 respectively; this readily removed the old varnish and retouching and it was apparent that the lighter areas had been cleaned before and the background left, as there was definitely more accumulation in these areas.

When cleaned there was scattered evidence of previous flaking, excessively on the right hand side. The original cracking needed to be reduced with the light retouching to regain the continuing form of the lighter features.

The picture was restored using Paraloid B72 and varnished with semi-matt MS2A varnish.

[Report by A.M. Reeve, date of treatment: Jan. 1974, date of report: Feb. 1974]

surface polished with mastic-wax

Glazed [1]

[1] National Gallery Archive:

16th November 1857: Reported that a mahogony case with glass was being made for the Cranach, and that it had been varnished by Mr Bentely on the 19th October.

Partial cleaning and varnish application