RESTURO CONSERVATION CENTER La Venaria Realehome / Digital archive – single work



CCR Archive

21mc040-TA-2008_Turin, Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy, inv. 189, cat. 3
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - before restoration
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 verse - before restoration
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - false color analysis
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - IR analysis
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - RX analysis
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - X-ray 3D
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - UV analysis
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - after restoration
Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy inv. 189, cat. 3 - after restoration
21mc40-TA-2008_Clouet_carlo_II_di_savoia
Restoration sheet
Technical Report on Multispectral Investigations
Detection data sheet

21mc040-TA-2008_Turin, Galleria Sabauda, D. Ferrari, Portrait of Charles II of Savoy, inv. 189, cat. 3



Facilitated description:

 

The portrait of Charles II of Savoy is a wooden panel painting made by Defendente Ferrari during the 1500s. 
The painting is kept at the Galleria Sabauda in Turin. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2008. 
The restorers cleaned the painting of dust.
They have arranged the paintings of the old restoration with paint colors.
In the end they put a varnish to protect the painting from the sun's rays and dust.

 

 

 

 

Abstract of the intervention:

Restoration

The restoration of the painting began with the removal of atmospheric particle deposits by aspiration.
On the pictorial layer, after removing the superficial deposits, a revision of the pre-existing pictorial integrations was carried out with paint colors at the neck of the figure and in the upper left area of the bottom. At the end of the intervention, spray painting was carried out in order to protect the surface layers.

 

Bibliography

S. Baiocco, Sheet 2.6 in De Van Dyck in Bellotto. Splendeurs à la cour de Savoie, C. E. Spantigati, P. Astrua, A. M. Bava, S. Damiano, Torino, Allemandi, 2009, pp. 103-104.