Correction to: Conservation of Modern Oil Paintings

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Changes in the surface characteristics of artificially aged mastic varnishes after cleaning using alkaline reagents

This study investigates the effects of a selection of alkaline reagents, including solutions, pastes and soap gels, used to remove an artificially aged mastic film applied over a primed canvas. Surface changes were examined using visible light and scanning electron microscopy (SEM). Ammonia, whether in solution or gelled with hydroxypropylmethylcellulose (HPMC), required a pH of 10 or higher to remove varnish at an appreciable rate, whereas ammonia in wax paste worked at pH 9. Soap gels based on deoxycholic acid (DCA) were effective at pH 9·5. The rate of removal increases significantly with the addition of benzyl alcohol, while anthracene-9-carboxylic acid (A9C) and 9-fluorenone-4-carboxylic acid (9FOC) soap gels of pH 7·9 worked quickly without the addition of alcohol. Where reagents with a pH of more than 9 were used, some erosion of the priming was observed under SEM. Examination of the topography of residual varnish after treatment and Fourier transform infrared spectroscopy (FTIR) measurements provided evidence in support of models for the mode of action of reagents and soap gels on aged varnish. Ammonia, whether in solution, gel or paste, removes varnish by fracturing on a multi-molecular scale; soap gels not -specifically tailored to remove the varnish act similarly. A9C and 9FOC gels remove the varnish by thinning from the upper surface without fracturing

A technical study of portraits of King James VI and I attributed to John de Critz the Elder (d.1642): Artist, workshop and copies

No abstract available

Defining the Origins and Characteristics of Anglo-Netherlandish and Native Workshop Practices in Late Elizabethan / Early Jacobean England: Comparative Technical Study of Marcus Gheeraerts the Younger (1561/2 - 1636), John de Critz the Elder (d.1642), Robert Peake the Elder (c.1551 - 1619 and William Larkin (c.1580 - 1619)

No abstract available

A technical study of portraits of King James VI and I attributed to John de Critz the Elder (d.1642): Artist, workshop and copies

No abstract available

Defining the Origins and Characteristics of Anglo-Netherlandish and Native Workshop Practices in Late Elizabethan / Early Jacobean England: Comparative Technical Study of Marcus Gheeraerts the Younger (1561/2 - 1636), John de Critz the Elder (d.1642), Robert Peake the Elder (c.1551 - 1619 and William Larkin (c.1580 - 1619)

No abstract available

Goya’s Portrait of Francisco de Saavedra: materials, techniques, conservation and context

This paper discusses the technical study and conservation treatment of The Courtauld Gallery’s Portrait of Francisco de Saavedra, painted in 1798 by Francisco de Goya, in relation to its possible pendant, the Portrait of Gaspar Melchor de Jovellanos, painted the same year and now at the Museo Nacional del Prado, Madrid. Similarities in the materials and techniques used for the portraits and differences in their appearance due to material changes, as well as the condition of the paintings, are also considered.Cet article présente l’étude technique du Portrait de Francisco de Saavedra, peint en 1798 par Francisco de Goya, et les restaurations effectuées par The Courtauld Gallery, tout en établissant une comparaison avec le Portrait de Gaspar Melchor de Jovellanos, réalisé la même année. Ce dernier, qui peut être considéré comme son pendant, se trouve actuellement au musée national du Prado à Madrid. Les ressemblances dans les matériaux et les techniques utilisés pour ces portraits tout comme les différences d’apparence dues à l’évolution des composants, ainsi que l’état des tableaux, sont également abordés

'The work of God and not of man,' Gilding and the English Renaissance Portrait

No abstract available