The Marriage of Strongbow and Aoife (1854)
Daniel Maclise, oil on canvas, 315 x 513 cm
National Gallery of Ireland
A few stages of the conservation 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
The Triumph of Amphitrite (18th)
Etienne Jeaurat, oil on canvas, 99 x 131 cm
National Gallery of Ireland
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”
Rebecca at the Well (17th)
Attributed to Henri Mauperché, oil on canvas, 140 x 127 cm
National Gallery of Ireland
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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
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
Getting the wood panel ready 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
Gilded frame (19th)
National Gallery of Ireland
The frame during its cleaning and consolidation and overall view after conservation treatments.
Portrait of a Woman (early 20th)
Cesca Chenevix Trench (Sadhbh Trinseach) Oil on canvas, 69 x 54,5 cm
National Library of Ireland
The main treatments included the removal of brown paper bits stuck on the front, the surface cleaning and the flattening of the crease
© 2015 Peggy Rème Studio
© 2015 National Library of Ireland
© 2015 National Gallery of Ireland
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