See also: http://www.heritagecouncil.ie/museums-archive/heritage-council-initiatives/conservation-internship-programme/national-gallery-of-ireland/
http://www.expo-vanderweyden.be/fr/lexposition/aert-van-den-bossche
Portrait of a Woman (early 20th)
Cesca Chenevix Trench (Sadhbh Trinseach)
Oil on canvas, 69 x 54,5 cm
National Library of Ireland
Daniel Maclise, oil on canvas, 315 x 513 cm
National Gallery of Ireland
For more details on this project: http://www.nationalgallery.ie/Conservation/Featured_Projects/Strongbow_and_Aoife.aspx
The Marriage of Strongbow and Aoife (1854)
The Triumph of Amphitrite (18th)
Rebecca at the Well (17th)
Attributed to Henri Mauperché, oil on canvas, 140 x 127 cm
National Gallery of Ireland
Two scenes from the life of a saint (1480-1510)
Master of Saint Crispin, oil on panel, 98,3 x 67 cm
National Gallery of Ireland
Cadre en bois doré (19th)
National Gallery of Ireland
Portrait of a Man (early 20th)
Cesca Chenevix Trench (Sadhbh Trinseach)
Oil on hardboard, 37,2 x 31 cm
National Library of Ireland
© 2015 Peggy Rème Studio
© 2015 National Library of Ireland
© 2015 National Gallery of Ireland
All rights reserved
Treatments undertaken on the front
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Dusting
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Removal of the pieces of paper
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Consolidation of the flaking areas
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Facing of the crease
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Facing of the whole surface
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Cleaning
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Infilling of the losses and retouching
Treatments undertaken on the support
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Dusting
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Cleaning of the canvas
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Consolidation of a snag
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Flattening of the crease
Treatments undertaken on the front
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Dusting
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Consolidation of the flaking paint
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Facing
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Cleaning
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Infilling of the losses and retouching
Treatments undertaken on the support
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Dusting
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Consolidation of the right side of the hardboard
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Cleaning
Etienne Jeaurat, oil on canvas, 99 x 131 cm
National Gallery of Ireland
A few stages of the conservation-restoration project
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Treatments on the support: removal of old patches, inserts of canvas and tear mending, reinforced by new patches made with a non-woven fabric
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Treatments on the front: varnish removal, as well as over panting and crude retouching
Views of the painting during the varnish removal and after restoration: the cleaning and the removal of old over paintings revealed its original shape “cintré à oreilles”
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Details of old over paintings that covered the majority of the surface
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Overall views after the removal of the over paintings and after restoration
Preparation of the wood panel to go on loan for an exhibition
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Infilling and retouching
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Consolidation of the support with inserts of Balsa wood
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Detail of a corner of the frame before and after consolidation, infilling with gesso and retouching
The frame during its cleaning and consolidation and overall view after conservation treatments.