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16 articles
Article
The Art of Conservation: XVII: Jan Cornelis Traas, paintings restorer of the Van Gogh family collection
02/2022 | 1427 | 164
Pages: 164-177
related names
Author:
Hendriks, Ella (Hendriks, Ella)
Subjects
dates:
subjects:
Illustrations
Attributed works:
1. Jan Cornelis Traas at work on Girl with a pearl earring, by Johannes Vermeer, in the Mauritshuis, The Hague. 1960. Photograph. (Royal Picture Gallery Mauritshuis, The Hague).
Attributed works:
10. Photograph of Fig.9 recording its damaged condition prior to the 1927 restoration by Traas. (Photograph Bernard F. Eilers; from W. Scherjon and W. Jos de Gruyter: Vincent van Gogh’s great period. Arles, St. Rémy and Auvers sur Oise, Amsterdam 1937).
Attributed works:
11. The bedroom at Arles, by Vincent van Gogh. 1888. Oil on canvas, 72.4 by 91.3 cm. Photographed after the 2009–10 treatment when Traas’s old varnish and retouches were removed. The originally pale violet walls and lilac doors described by the artist are now light blue, owing to the fading of a red cochineal lake in the paint mixture used. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
12. Digital visualisation providing an impression of the original colours of Fig.11. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
13. Vishwa R. Mehra making a condition report on the Van Gogh collection. 1984. Photograph. (Van Gogh Museum, Amsterdam, Vincent van Gogh Foundation).
Attributed works:
14. Self-portrait with grey felt hat, by Vincent van Gogh. 1887. Oil on canvas, 44.5 by 37.2 cm. Shown after it was vandalised in 1978. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
2. Willem J. Steenhoff in the Van Gogh Gallery of the Rijksmuseum, Amsterdam, with The potato eaters (F82) in the background. 1918. Photograph. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
3. Living room of Jo van Gogh-Bonger’s house in Brachthuyzerstraat, Amsterdam, showing from left to right: The white orchard (F403); The pink peach tree (F404); and The pink orchard (F555). c.1917. Photograph Thijs Quispel. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
4. Diagram of the Dutch method of wax-resin lining; in this case the original and lining canvases are enlarged with paper strips adhered to the edges, rather than the canvas strips sewn on by Traas, enabling the canvases to be stretched on wooden looms during lining. (From S. Cursiter and A.M. de Wild: ‘Picture relining’, in Technical Studies in the Field of Fine Arts 5 (1937)).
Attributed works:
5. Relining of Van Gogh’s Railway bridge over Avenue Montmajour, Arles (F480; whereabouts unknown), showing the preparation of the sawdust bed on which the painting is laid face downwards for lining without a hot table, by ironing, using ‘an elaborate insulation with tin foil and a sawdust bedding’ to protect the high impasto. Photograph, taken probably in Helmut Ruhemann’s studio in Berlin c.1932. (From Manual on the Conservation and Restoration of Paintings, Paris 1940).
Attributed works:
6. Field with irises near Arles, by Vincent van Gogh. May 1888. Oil on canvas, 54 by 65 cm. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Attributed works:
7. Fig.6 photographed in raking light after the removal of the varnish in 2014–15.
Attributed works:
8. Enlarged detail of Fig.6, showing canvas weave impressed in the flattened impasto from rolling and sending the painting to Theo van Gogh.
Attributed works:
9. An old woman of Arles, by Vincent van Gogh. 1888. Oil on canvas, 58 by 42 cm., showing the corners filled with putty and an even tone. (Van Gogh Museum, Amsterdam; Vincent van Gogh Foundation).
Book Review
Antiquities in Motion: From Excavation Sites to Renaissance Collections
08/2021 | 1421 | 163
Pages: 764-765
related names
Reviewer:
Aymonino, Adriano (Aymonino, Adriano)
Subjects
places:
subjects:
Reviewed Items
subjects:
Antiquities in Motion: From Excavation Sites to Renaissance Collections By Barbara Furlotti. 292 pp. incl. 140 col. + 7 b. & w. ills. (Getty Research Institute, Los Angeles, 2019), £60. ISBN 978–1–60606–591–4. | :
Illustrations
Attributed works:
2. Finding the Sibylline books and the tomb of Numa Pompilius, by workshop of Giulio Romano with Polidoro Caldara da Caravaggio. c.1524–25. Detached fresco, 98 by 209 cm. (Bibliotheca Hertziana, Rome).
Book Review
A Connoisseur and His Clients: The Correspondence of Charles Fairfax Murray with Frederic Burton, Wilhelm Bode and Julius Meyer (1867–1914). Edited by Paul Tucker
10/2018 | 1387 | 160
Pages: 883-884
related names
Reviewer:
Avery-Quash, Susanna (Avery-Quash, Susanna; Quash, Susanna Avery-)
Subjects
museums and institutions:
places:
Article
The Art of Conservation XV. The conservation history of the Ghent Altarpiece
09/2018 | 1386 | 160
Pages: 754-765
related names
Author:
Dubois, Hélène (Dubois, Hélène)
Subjects
collectors and dealers:
Illustrations
Attributed works:
1. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown open, 375 by 514 cm. Before restora- tion. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
2. Diagram showing the extent of mid-sixteenth century overpaint on the outside wings of the polyptych. (©KIK-IRPA, Brussels).
Attributed works:
3. Detail of Fig.4, showing Joos Vijd’s right eye after varnish removal. The pink scumbles around the eyes, which cover the original eyelashes, are typical of the mid-sixteenth-century overpainting campaign. (©KIKIRPA, Brussels).
Attributed works:
4. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown closed, 375 by 257 cm. Photographed after restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
5. Detail of Fig.4, showing Elisabeth Borluut’s drapery before the removal of varnish and overpaint. (Cathedral of St Bavo, Ghent).
Attributed works:
6. Fig.5 after the removal of overpaint and restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
7. The Virgin Annunciate and Angel musicians (recto and verso of the same panel), by Hubert and Jan van Eyck. Photographs taken in Berlin before the restoration of 1894. Original hinges are present on the left side of the frame of the Virgin’s panel. Metal reinforcements were added to the extremities of the crossbar. Later, wrought metal hinged braces were attached by large screws fitted through the frame and visible on the front of the Angels panel. (Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg).
Attributed works:
8. The prophet Micah, detail of Fig.4, shown in the frame designed by Karl Friedrich Schinkel with a hatch covering the inscription beneath the prophet. Photograph, before 1878. (RKD, Netherlands Institute for Art History, M.J. Friedländer Archive, The Hague).
Attributed works:
9. The Ghent Altarpiece as installed in the Vijd chapel between 1865 and 1920. It comprises Eyckian central panels, Lagye’s fur-clothed Adam and Eve and Coxcie’s copies of the other shutters. Photograph, c.1910–13. (© Stadsarchief, Ghent).
Western art unattributed:
10. Jef Van der Veken in his studio in Brussels. Photograph, before 1929. (RKD, Netherlands Institute for Art History, Jef Van der Veken Archive, The Hague).
Western art unattributed:
11. Albert Philipott applies wax to the surface of Eve in order to consolidate the paint layers. Photograph, 1951. (© KIK-IRPA, Brussels).
Western art unattributed:
12. Albert Philipott removes the overpainted clouds around the dove in The Adoration of the Lamb. Photograph, 1951. (© KIK-IRPA, Brussels).
Article
The Art of Conservation XII. Art history, science and practice: the training of paintings conservators in the twentieth century
08/2017 | 1373 | 159
Pages: 630-637
related names
Author:
Hill Stoner, Joyce (Hill Stoner, Joyce)
Subjects
subjects:
Illustrations
Attributed works:
39. A reconstruction in progress of Rogier van der Weyden's painting of The Magdalene reading (National Gallery, London), made by Brian Baade for the Winterthur/University of Delaware Program in Art Conservation. 2013 (Photograph Joyce Hill Stoner)
Attributed works:
41. Paolo and Laura Mora demonstrating the tratteggio technique of inpainting at the J. Paul Getty Museum painting conservation studio in Los Angeles. 1985 (Photograph Joyce Hill Stoner)
Attributed works:
42. Stephen Rees Jones in the Technology Department of the Courtauld Institute of Art, London. 1972 (Photograph Joyce Hill Stoner)
Western art unattributed:
37. Johannes Hell. Date unknown. (Photograph courtesy FAIC, Winterthur Museum, Library and Archives)
Western art unattributed:
38. William Suhr in his studio in Berlin (sitting on the far left). 1920s (Photograph courtesy FAIC, Winterthur Museum, Library and Archives)
Western art unattributed:
40. The Staatliche Akademie der Bildenden Künste, Stuttgart, Institut für Technologie der Malerei. 1965
Western art unattributed:
43. Sheldon Keck (far left) and James Hester, former President of New York University, welcome Jacqueline Kennedy to the New York University Conservation Center at the Institute of Fine Arts, New York. Leonetto Tintori is on the far right. c.1961 (Photograph courtesy of the New York University Institute of Fine Arts)
Western art unattributed:
44. Delegates to the International IIC Congress on Museum Climatology outside the Albert Hall, London. 1967 (Photograph courtesy of the International Institute for Conservation of Historic and Artistic Works, London)
Article
The Art of Conservation: X Pietro Edwards: The restorer as 'philosophe'
04/2017 | 1369 | 159
Pages: 308-317
related names
Author:
Darrow, Elizabeth (Darrow, Elizabeth)
Subjects
art literature:
dates:
places:
Illustrations
Attributed works:
44. Pope Pius VI blessing the crowd at Campo SS. Giovanni e Paolo, Venice, by Francesco Guardi. 1782 (Ashmolean Museum, Oxford)
Attributed works:
45. Plan of SS. Giovanni e Paolo, Venice. 1856. From P. Beroaldi: Quadro storico-statistico dello Spedale Civile Provinciale di Venezia..., Venice 1856 (Biblioteca Marciana, Venice). Nos.10 and 14 on the first floor are thought to be refectories and one or both were Pietro Edward's laboratory
Attributed works:
46. Chymie, Laboratoire et Table des Rapports, by Robert Bénard. 1763. From D. Diderot and J. Le Rond d'Alembert: Encyclopédie; ou, Dictionnaire raisonné des sciences, des arts et des metiers, 1751-72, III, pl.1 (Wellcome Library, London)
Attributed works:
47. Feste e spettacoli allestiti in piazza San Marco in onore dei conti del Nord, engraved by Alessandri and Scattaglia after Antoino Baratti. 1782 (Getty Research Institute, Los Angeles)
Attributed works:
48. Martyrdom of St Lawrence, by Titian. 1558, after the restoration in 2012 (Church of the Gesuiti, Venice)
Article
The Art of Conservation VIII: From Guizzardi to Cavenaghi: nineteenth-century Italian conservators
12/2016 | 1365 | 158
Pages: 968-978
related names
Author:
Bonsanti, Giorgio (Bonsanti, Giorgio)
Subjects
dates:
subjects:
subjects:
Illustrations
Attributed works:
29. Portrait of Giuseppe Guizzardi in 'ancient' dress, by Pelagio Palagi. 1807 (Collezioni Comunali d'Arte, Bologna)
Attributed works:
30. Self-portrait, by Giuseppe Molteni. c.1830 (Private collection, Florence)
Attributed works:
31. Photograph of the back of the panel of Raphael's Marriage of the Virgin (Galleria di Brera, Milan) with the structural restoration by the cabinetmaker Draghini supervised by Molteni in 1857-58
Attributed works:
32. Nativity, by Girolamo Romanino. c.1524. Photographed in 1939 with Molteni's restoration, removed in 1968 (National Gallery, London)
Attributed works:
33. Fig.32 in its present state
Attributed works:
35. Detail of Penitent St Benedict, by Agnolo Bronzino. c.1525 (Chiostro degli Aranci, Badia Fiorentina, Florence). In its present state after the strappo made by Giovanni Secco Suardo in 1864, with a clear impression of the canvas
Attributed works:
37. Il restauratore dei dipinti, volume I, by Giovanni Secco Suardi, 2nd edition, Milan 1894 (Biblioteca, Galleria degli Uffizi, Florence)
Attributed works:
38. Manuale del pittore restauratore, by Ulisse Forni. Florence 1866, with Forni's dedication to the sculptor Ulisse Cambi (Giorgio Bonsanti collection)
Attributed works:
39. Ettore Franchi's suggested outline of the Angel made in 1878 on the Coronation of the Virgin, by Lorenzo Monaco. 1414 (Galleria degli Uffizi, Florence; photograph Opificio delle Pietre Dure, Florence)
Attributed works:
40. St Gregory, by Antonello da Messina. 1473 (Museo Regionale, Messina) with the restoration by Luigi Cavenaghi (1912)
Attributed works:
41. Head of a female saint, by Cima da Conegliano. c.1510 (Museo Poldi Pezzoli, Milan) after the restoration by Cavenaghi (1890)
Attributed works:
42. Luigi Cavenaghi restoring Leonardo da Vinci's Last Supper in the refectory of S. Maria degli Angeli, Milan, by Riccardo Salvadori. 1908. From L'Illustrazione Italiana 35, II, no.41 (1908), p.343
Western art unattributed:
34. Giovanni Secco Suardo. c.1865 (Courtesy of Fondazione Secco Suardo, Lurano, Bergamo)
Western art unattributed:
36. A young woman saved from falling into a well. Lombard school, late fifteenth century. The first strappo of a mural painting by Giovanni Secco Suardo. c.1855 (Fondazione Secco Suardo, Lurano, Bergamo)
Article
Hopman and De Wild: The historical importance of two Dutch families of restorers
10/2016 | 1363 | 158
Pages: 812-823
related names
Author:
te Marvelde, Mireille (te Marvelde, Mireille)
Author:
van Duijn, Esther (van Duijn, Esther)
Subjects
places:
Illustrations
Attributed works:
48. Reverse of Adoration of the magi, by Salomon Koninck, showing the blue-and-white striped bed ticking used by Nicolaas Hopman as lining canvas (Mauritshuis, The Hague)
Attributed works:
49. View of the Oranjezaal, The Hague, with The marriage of Frederik Hendik and Amalia van Solms by Gerard van Honthorst above the doors. 1651 (Staat der Nederlanden, Koninklijke Verzamelingen, The Netherlands. Photograph Margareta Svensson)
Attributed works:
50. Max von Pettenkofer in his study. 1901. (Courtesy PhotoSeed.com. Photograph Friedrich Müller, Munich)
Attributed works:
51. Label by W.A. Hopman on the reverse of Portrait of a man by J.C. Verspronk (Rijksmuseum, Amsterdam; photograph by Anna Krekeler)
Attributed works:
52. Nineteenth-century photograph of Rembrandt's Anatomy lesson of Dr Nicolaes Tulp, with notes by W.A. Hopman made in 1877 indicating the areas of damaged paint (Mauritshuis, The Hague)
Attributed works:
55. Derix de Wild in his studio with his son Martin on the right (From W. Martin: Altholländische Bilder, Berlin 1918)
Attributed works:
56. Showcase at the exhibition Frans Hals: Work in Progress, Haarlem (Frans Hals Museum / De Hallen Haarlem) 2015, including a cardboard box of old varnishes removed from the paintings, petri dishes for chemical tests, glass negatives and an album of photographs and descriptions of chemical tests (Photograph Ton van der Heide)
Attributed works:
58. The experts during the Wacker trial in 1932 in Berlin; Martin de Wild is second from left (Ullstein Bild, Atelier Balassa; photograph B.A. Balassa)
Attributed works:
59. Martin de Wild at work in his studio, making an X-radiograph (left) and taking a paint sample (right). (Nationaal Archief/Collectie Staarnstad/Associated Correspondents; photograph Bert Buurman)
Western art unattributed:
47. Engraving of the hot-air balloon 'Lust tot Onderziek' (Delight in Study) with which Abraham Hopman made the first balloon flight in the Netherlands in 1804. (From Eigen Haard 39, 25th September 1909, p.619)
Western art unattributed:
53. Carel F.L. de Wild Senior, in his studio (RKD, The Hague)
Western art unattributed:
54. Grote Museumzaal, or Large Museum room, in the City Hall, Haarlem, 1900, showing the darkened state of Frans Hals's group portraits (Noord-HollandsArchief, Collection Kennemerland. Photograph Berend Zweers)
Western art unattributed:
57. Derix de Wild (left) in the London studio of art dealer Knoedler at 15 Old Bond Street, with his son Martin de Wild (middle) and possibly his nephew Louis de Wild (right). (RKD, The Hague)
Article
The Art of Conservation VI: Helmut Ruhemann, paintings restorer in Berlin and London
08/2016 | 1361 | 158
Pages: 638-646
related names
Author:
Blewett, Morwenna (Blewett, Morwenna)
Subjects
art literature:
museums and institutions:
Illustrations
Attributed works:
42. Helmut Ruhemann, Marjorie Gertler (née Hodgkinson, later Kostenz), Philip Hendy and Mark Gertler, by Lady Ottoline Morrell. 1933. Photograph (National Portrait Gallery, London)
Attributed works:
43. Portrait of a man, by Antonello da Messina. c.1475-76. Photograph made during Ruhemann's 1939 treatment (National Gallery, London)
Attributed works:
44. Portrait of a man, by Antonello da Messina. c.1475-76. Ruhemann's extant restoration (National Gallery, London)
Western art unattributed:
40. Helmut Ruhemann. Before 1934. Photograph (Ruhemann Papers, Hamilton Kerr Institute, University of Cambridge)
Western art unattributed:
41. Early use of a heated spatula in the conservation studios of the Kaiser-Friedrich Museum, Berlin. Photograph (Ruhemann Papers, Hamilton Kerr Institute, University of Cambridge)
Western art unattributed:
45. Helmut Ruhemann teaching in Guatemala in 1956. Photograph (Ruhemann Papers, Hamilton Kerr Institute, University of Cambridge)
Article
The Art of Conservation V: Caring for the King’s pictures: artists and restorers in the Spanish royal collection, 1576–1814
06/2016 | 1359 | 158
Pages: 447-459
related names
Author:
Aterido Fernández, Ángel (Aterido Fernández, Ángel; Fernández, Angel Aterido; Aterido, Ángel)
Author:
Veliz, Zahira (Veliz, Zahira; Véliz Bomford, Zahira; Veliz, Z.)
Subjects
subjects:
subjects:
subjects:
Illustrations
Attributed works:
36. Descent from the Cross, by Rogier van der Weyden. c.1435 (Museo del Prado, Madrid)
Attributed works:
37. Map of Madrid by Pedro Teixeira. 1656 (Biblioteca Nacional, Madrid). Detail with locations for a) Real Alcázar Palace; b) Convent of St Giles; c) Palacio de Bedmar; d) Paris of San Justo; e) Archbishop's Palace; f) Casa de Rebeque; g) Calle de Postas
Attributed works:
38. Adoration of the Magi, by Peter Paul Rubens. 1610 (Museo del Prado, Madrid)
Attributed works:
39. The finding of Moses, by Paolo Veronese. c.1580 (Museo del Prado, Madrid)
Attributed works:
40. A Castilian king, by Alonso Cano. c.1640 (Museo del Prado, Madrid)
Attributed works:
41. The finding of Moses, by Orazio Gentileschi. 1633 (Museo del Prado, Madrid)
Attributed works:
42. Portrait of a seated woman, by Antonis Mor. c.1560-65 (Museo del Prado, Madrid)
Attributed works:
43. Family of Philip V, by Jean Ranc. c.1722 (Museo del Prado, Madrid)
Western art unattributed:
35. Diagram showing the relative positions at court of Pintores de Cámara and Pintores del Rey, and the three administrative authorities for which the artists worked
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