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George Morland


TITLE: Cottage door with donkey TECHNIQUE: Oil on canvas
SIGNATURE: G.M. 1790, bottom left corner
DIMENSIONS: 450 x 610 mm
FRAME: Wooden, gesso moulded, gilded gold
TREATMENT: October – December 2007

CONDITION REPORT
PRIMARY SUPPORT The primary support is an oak panel, made of two parts, with the join in the middle. The overall condition is good.

A label placed diagonally on the back, reads:
β€œJames Bourlet & Sons, Ltd.,
Fine Art Packers, Frame Maker
C 23863
17 & 18, Nassau Street,
Mortimer Street, W.
Phone;- Museum 1817 & 7588”
The label is printed in black ink on paper-pulp paper.

A second label reads,
β€œ61” and this is horizontally placed in the centre. This label is also printed in black ink on a paper-pulp support.

GROUND The ground appears to be off-white in colour and in a sound condition.

PAINT LAYER The artist has applied the paint in glazes with a medium added to the paint layer. Areas of impasto can be seen in the highlights. Due to the addition of the medium, extensive drying cracks can be seen, particularly in the dark areas. A fine age-crack pattern can also be seen in a number of localized areas.

VARNISH LAYER The natural resin varnish layer is discoloured and a layer of surface dirt covers this. This is not the original varnish. Under UV light it appears to be thickly applied, masking the image and the retouchings do not appear separately.

TREATMENT CARRIED OUT
  • Photographic record was taken and this was maintained throughout the treatment.
  • Tests were carried out to remove the surface dirt. After the appropriate reagent was found, cleaning proceeded safely and effectively. Cleaning proceeded using a swab stick.
  • Following tests, including a safety margin-cleaning test, an organic solvent was found to remove the discoloured varnish layer safely and effectively. Cleaning proceeded using a swab stick.
  • An isolating brush conservation varnish was applied.
  • The losses in the areas of the drying cracks were retouched and a final conservation was applied.
  • Frame: Loose parts were re-adhered. The front and back of the frame were cleaned and gold over-paint removed. Losses were filled, textured and sealed. Retouching completed the treatment to the frame and the painting was secured in the frame using brass plates.

Page 1   1 |  2 | 
Click the image for a view of: Whole back, before treatment
Whole back, before treatment
Click the image for a view of: Detail of signature, before treatment
Detail of signature, before treatment
Click the image for a view of: Detail of figures, before treatment
Detail of figures, before treatment
Click the image for a view of: Detail showing think paint layer and underlying grain of panel
Detail showing think paint layer and underlying grain of panel
Click the image for a view of: Detail of cottage, before treatment
Detail of cottage, before treatment
Click the image for a view of: Detail of foliage, before treatment
Detail of foliage, before treatment
Click the image for a view of: Detail of donkey, before treatment
Detail of donkey, before treatment
Click the image for a view of: Whole front, during cleaning
Whole front, during cleaning
Click the image for a view of: Detail of foliage, during cleaning
Detail of foliage, during cleaning
Click the image for a view of: Whole front, after cleaning, during treatment
Whole front, after cleaning, during treatment
Posted: 2007/12/21 (07:30:00 AM)

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