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Case Study |
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Historical Rewards: |
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A Dutch and
a Flemish Discovery |
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Rubens Studio
"The Crowning of St. Catherine"
Before Treatment
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Treatment |
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7/15/08 to 11/20/08 |
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| The painting's full treatment
encompassed cleaning requirements, structural stabilization,
and the retouching/revarnishing. First, each leaf of the foliated
background was traced onto clear mylar. The original paint layer's
condition was unknown and the tracing might prove valuable if
the treatment necessitated general reconstruction of former damage. |
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| The Japanese tissue was removed
from the surface using damp cotton swabs. Removal caused the
panel to separate into three sections, for the paper was the
only binder holding the joins together. The edges of the exposed
cracks were immediately consolidated using a PVA emulsion adhesive.
Other weak areas were stabilized similarly. |
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Visual Treatment |
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Cleaning |
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| Right Section |
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| As with the van der Poel, cleaning
involved the removal of discolored surface films and all areas
of non-original paint. This work was carried out under binocular
magnification using swabs and appropriate organic solvents. The
upper dirt film was initially removed using a pH-neutral detergent. |
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| Using a relatively weak organic
solvent, removal of the surface films began along the right panel's
left edge. Cleaning proceeded from top to bottom in thin strips.
The later restoration additions were sandwiched between the varnish
layers and came away easily with their removal. Almost all of
the leaves were later additions. Removing the discolored varnish
and overpaint exposed a light, blue sky tone as well as considerable
surface abrasion. |
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Before Treatment
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail During Cleaning
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| During cleaning, a rather remarkable
discovery occurred. The crown of a small head appeared to the
left of the female figure. The overpaint's removal uncovered
a partial figure, but its context within the composition made
no sense, thereby lending support to the notion that the entire
painting may only be an unfinished sketch. Initially, the female
figure held what appeared to be a wooden stick. Cleaning revealed
that the stick was an addition: she actually was holding a ribbon
that intertwined between her hands. As with the small figure,
the ribbon's purpose was unknown. |
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail During Cleaning
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail During Cleaning
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail During Cleaning
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail After Cleaning
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| The striking color change that
occurred during cleaning is documented in the right detail. Under
the masking veil, the female figure's dress appeared yellow and
the drapery's three-dimensional quality was obscured. Cleaning
reinstated the richness and strength of the original drawing. |
Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail During Cleaning
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| Cleaning the lower right corner
uncovered another extraordinary find. A demonic dragon's head
had been completely painted over. The animal's ferocious, fire-breathing
character and razor-sharp teeth were in excellent condition.
Now the ribbon in the figure's hand made sense: it was used to
tether the animal. |
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail Before Treatment
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail During Cleaning
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail During Cleaning
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Detail After Cleaning
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Rubens Studio
Right Section "The Crowning of St. Catherine"
Before Treatment
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Rubens Studio
Right Section "The Crowning of St. Catherine"
After Cleaning
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Cleaning |
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Center Section |
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| While the discoveries in the
panel's right section were extraordinary, further revelations
occurred in the center section. The removal of varnish and overpaint
to the Madonna's right uncovered a pair of arms embracing a column
of flames. The arms aligned with the discovered small figure
in the right panel. The below images detail this remarkable find. |
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Rubens Studio
Center Section "The Crowning of St. Catherine"
Details Before Treatment, During Cleaning, After Cleaning
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| Cleaning the section's upper
areas brought forth still more discoveries. The scene did not
occur in a wooded, foliated setting but rather in a garden that
included architectural motifs. The entire background in the composition
prior to treatment was a later addition; not one leaf was original.
Instead, a vined enclosure enveloped the foreground figures and
a gray caryatid angel supported an architectural mantle. |
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Rubens Studio
Center Section "The Crowning of St. Catherine"
Detail Before Treatment
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Rubens Studio
Center Section "The Crowning of St. Catherine"
Detail During Cleaning
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Rubens Studio
Center Section "The Crowning of St. Catherine"
Detail During Cleaning
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Rubens Studio
Center Section "The Crowning of St. Catherine"
Detail After Cleaning
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Rubens Studio
Center Section "The Crowning of St. Catherine"
Before Treatment
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Rubens Studio
Center Section "The Crowning of St. Catherine"
After Cleaning
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Cleaning |
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Left Section |
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Rubens Studio
Left Section "The Crowning of St. Catherine"
Before Treatment
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Rubens Studio
Left Section "The Crowning of St. Catherine"
After Cleaning
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No further discoveries were revealed
in the left panel. The following page reviews the structural
and finishing work. |
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Before Treatment--After Cleaning |
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Rubens Studio
"The Crowning of St. Catherine"
Before Treatment
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Rubens Studio
"The Crowning of St. Catherine"
After Cleaning
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Home
Table of Contents, Biography,
"Barn Interior" Examination, Treatment,
The Flayed
Pig, Related
Themes, "The
Crowning of St. Catherine" Examination, Visual Treatment,
Structural
Treatment/Completion
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Barry Bauman Conservation
Contact: Mr. Barry Bauman
1122 N. Jackson Ave., River Forest, IL. 60305
Ph.(708)771-0382 Fax.(708)771-1532
e-mail:barrybbc7@yahoo.com
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