Sir Abe Bailey Bequest
Home    Information    Conservation    News    Exhibitions    Catalogue    Loans    Glossary    Contact   
Look up all news by year:  2020   2017   2016   2015   2014   2013   2012   2011   2010   2009   2008   2007   2006   2005   2004   2003

George Stubbs

Title: Two Bay Hunters by a Tree
Acc. No.: 1651
Technique: Oil on panel
Dimensions: 738 x 533 mm
Frame: Wooden, gesso moulded, gilded gold
Treatment: March – December 2011

SECONDARY SUPPORT The panel is painted on the back with a hessian material join across the center. A number of fine cracks can be seen, see image with notes.

The following inscriptions can be seen;
Central types
“For the collection of Liet. Col. E.W. Stanforth, C.B. of Kirk Hammerton Hall, York.”
“13” printed
“James Bourlet & Sons, Ltd.,
17 & 18, Nassau Street,
Mortimer Street, W.1
Frame damaged when received.
Date: 27 – 1 – 46 from Con Dover
Signature: A. Wangerfield”
Label located bottom left.
(This damaged was caused when they were moved into storage, caves in the North of England, during the Second World War.)

Top left;
“James Bourlet & Sons, Ltd.,
Fine Art Packers, Frame Makers
C 23655
17 & 18, Nassau Street,
Mortimer Street, W.
Phone; - Museum 1817 & 7588”

Central written label “6/88”
Central printed label “4800”

Top right
“Johannesburg Art Gallery
Johannesburg se Kunsmuseum
Equus 1.4.82 – 16.5.82
Artist, Kunstenaar: George tubs
Title/ Titel: Two Bay Hunters
Lender/ Lener: S.A. National Gallery
No 6”

Handwritten in chalk in the center
Top in pencil;
“alus hung over door”
In pencil – centrally located;
“Over Mantel Piece”
In blue crayon “ 1651”

Another label reads “No 115” that is located in the centre of the cross bar.

GROUND The ground appears to be off white in colour, both evenly and finely applied and in a sound condition.

PAINT LAYER The artist has applied the paint layer thinly in glazes.

VARNISH LAYER There are two layers of varnish both are natural resin varnish layer. These layers show a fine crack pattern. The leaves of the tree appear very thin and discoloured retouching can be seen in the heads of the horses, see images.

  • 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, and solubility parameter tests. A series of solvents mixtures, having decreasing dispersion forces (fd), were tested to establish the solubility parameter of the varnish. Tests were carried out in the sky. A mixture of 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. Losses were retouched and a final conservation varnish was applied.
  • The frame was cleaned; both front and back, losses filled and the painting was secured in the frame using brass plates.

Right: the x-ray shows the wood grain of the panel more clearly which can assist in the dating of the panel; the structural repairs and the losses to the paint layer. Being such a fine draftsman and intellect, the artist would not have made any changes on the panel.

FRAME The frame was cleaned, missing moldings re-made, re-leafed (24 carrot gold) and patina finish carried out.

Page 1   1 | 
Click the image for a view of: Detail, during cleaning
Detail, during cleaning
Click the image for a view of: Whole front after cleaning
Whole front after cleaning
Click the image for a view of: Detail of x-ray taken by Liz Cowley
Detail of x-ray taken by Liz Cowley
Click the image for a view of: Documentation
Posted: 2011/12/14 (12:29:47 PM)

Copyright © 2003-2019. Iziko Museums of Cape Town. All rights reserved.