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21mc030-TA-2008_Turin, Galleria Sabauda, P. Binoit, Fruits and crustaceans, inv. 878, cat. 264
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 - before restoration
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 verse - before restoration
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 - before restoration grazing light
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 - during the restoration
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 - during the restoration
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 - false color analysis
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 - UV analysis
Galleria Sabauda, P. Binoit, Fruits and crustaceans inv. 878, cat. 264 - after restoration
21mc30-TA-2008-binoit_frutti_crustacei
Restoration sheet
Technical Report on Multispectral Investigations
Detection data sheet

21mc030-TA-2008_Turin, Galleria Sabauda, P. Binoit, Fruits and crustaceans, inv. 878, cat. 264




Facilitated description:

 

Fruits and crustaceans is a painting on wooden board made by the painter Peter Binoit in the early 1600s. 
The painting depicts a table with bread, fruit and peaches.
The painting is kept at the Galleria Sabauda in Turin. 
The restorers of the La Venaria Reale Conservation and Restoration Centre restored the painting in 2008. 
The wooden board was well preserved so they restored only the painted part. 
The restorers cleaned the painting of dust.
They have eliminated the paint and the paintings of the old restorations.
They filled the cracks in the wood with stucco (plaster and glue).
They covered the color gaps with a light paint. 
Eventually they painted the painting to protect it from the sun's rays and dust.

 

 

 

 

Abstract of the intervention:

 

Restoration

Thanks to the good preservation of the support and the structural effectiveness of the previous restoration work, it was decided not to remove the added elements (butterflies) and to maintain the junction of the boards in the de facto state despite the presence of a crack (still visible on the reverse). We then proceeded with a dry removal of inconsistent deposits with soft bristle brushes.
Cleaning was carried out on the pictorial surface to obtain the selective removal of non-original substances (the protective layer and the repaintings). The grouting and retouching phases mainly concerned the slit area and rare veilings were carried out at the abrasions. The reintegration operation was carried out by creating a watercolour base on the grouting, which was then brought to tone with final glazes in paint colours. Finally, a thin and uniform layer of paint with a protective function was applied to the entire pictorial surface. 

 

Bibliography

S. Piretta, Sheet 7.1 in De Van Dyck in Bellotto. Splendeurs à la cour de Savoie, C. E. Spantigati, P. Astrua, A. M. Bava, S. Damiano, Turin, Allemandi, 2009, p. 176.